Temporary absence(s) of a particular element(s) can make desired effects in the cinema, essentially a composite and organized art form. For example, an absence of sounds creates silence, an absence of light make darkness, and their meanings allow for multiple variations of `mise en scene` and explanation. But how about subtitling? Apparently, we do not yet consider the subtitle as an element adequate in itself. It is probably because negative cliches still remain: the subtitle is a necessary evil, or rather subtitling is a subordinate translation for delivering the meaning of dialogues. Therefore, first of all, this article will analyze the desired subtitle`s effects which are removed at the will of director Aki Kaurismak, in the movie Le Havre. What is more, according to this analysis we will examine the role of the translator: his role is not simply to act as a faithful transposition of dialogues, the suppression of which can also become a possibility via his autonomous choice for the dramatic effects of `mise en scene` in a translated movie.