This essay is an examination of a particular kind of change which has been made with some frequency in recent motion pictures derived from novels. Because the market for cinema is youth and the young people of the country are largely disenchanted with foreign languages, motion pictures derived from novels are occasionally rewritten in such a way that the use of a foreign language by a sympathetic character in the original is rewritten in the screenplay. Examples of this are found in "The Godfather," during the first part of which Michael found Italian an incorrect medium for expressing his feelings in the restaurant. Other examples are "Cabaret,""Brother Sun and Sister Moon,""A Clockwork Orange," and "A Separate Peace." Such rewriting does violence to the set of symbols used by the novelist, and is to be condoned only when absolutely necessary. (Author)