Napoleon


4h 35m 1929

Brief Synopsis

Napoleon rises to become France's military champion in this influential classic.

Film Details

Also Known As
Bonaparte and the Revolution, Bonaparte et la Revolution, Napoleon vu par Abel Gance
Genre
Silent
Biography
Drama
Foreign
Historical
Political
Release Date
1929
Location
France

Technical Specs

Duration
4h 35m
Sound
Dolby (1981 re-release), Mono, Silent
Color
Black and White
Theatrical Aspect Ratio
1.33 : 1, 4.00 : 1

Synopsis

A massive six-hour biopic of Napoleon, tracing his career from his schooldays (where a snowball fight is staged like a military campaign), his flight from Corsica, through the French Revolution (where a real storm is intercut with a political storm) and the Terror, culminating in his triumphant invasion of Italy in 1797 (the film stops there because it was intended to be part one of six, but director Abel Gance never raised the money to make the other five). The film's legendary reputation is due to the astonishing range of techniques that Gance uses to tell his story, culminating in the final twenty-minute triptych sequence, which alternates widescreen panoramas with complex multiple- image montages projected simultaneously on three screens.

Film Details

Also Known As
Bonaparte and the Revolution, Bonaparte et la Revolution, Napoleon vu par Abel Gance
Genre
Silent
Biography
Drama
Foreign
Historical
Political
Release Date
1929
Location
France

Technical Specs

Duration
4h 35m
Sound
Dolby (1981 re-release), Mono, Silent
Color
Black and White
Theatrical Aspect Ratio
1.33 : 1, 4.00 : 1

Articles

Napoleon (1927)


The story behind Abel Gance's Napoleon (1927) is as exciting as the film. A masterpiece adventure originally running nearly seven hours, it breaks new ground with practically every shot, was filmed with techniques twenty-five years ahead of its time, and was rescued from oblivion by an obsessed teenager.

French director Abel Gance conceived an ambitious plan to film the life of the famous French leader in the early 1920s and, during a trip to America, even sought out D.W. Griffith to get his blessing for the project. Six feature films were to have presented a comprehensive biography of Napoleon but after a two-year struggle, Gance only succeeded in completing the first film before he ran out of money and time.

A tireless inventor, Gance devised new ways of presenting his story. To show his hero's rapidly calculating mind, Gance splashed on screen shots containing up to sixteen superimpositions. A pillow fight becomes a flurry of feathers and action as the screen divides itself into four, then nine, separate images. This was not achieved in the lab; for each effect the film had to be exposed and re-exposed in the camera by means of complex calculations.

To contrast a storm at sea with the furor inside Paris' Revolutionary Convention, Gance had the camera mounted on a swing, then sent it back and forth within inches of his actors' heads. Cameras were strapped to sleds, to horses' backs, sent underwater - anything to get the dynamic shots necessary to express the story.

Gance's most incredible invention can be seen at the story's climax. Filming Napoleon's invasion of Italy, Gance found his canvas too small. He strapped three cameras together to provide a panorama that could be projected on three separate screens. The result he called "Polyvision;" a quarter-century later the same idea was re-invented as Cinerama.

After the near-drowning of his lead actor, a magnesium explosion that left Gance terribly burned, and a detached retina caused by eyestrain during editing, Gance premiered his masterpiece at the Paris Opera on April 27, 1927. This three-hour, forty-minute version, ending with the three-panel panorama of the French Army marching into Italy, was heralded as the greatest triumph in French film history. An even longer version running close to seven hours played in select theaters across France.

Unfortunately, the triumph quickly passed when the U.S. version flopped after being stripped of its multi-screen ending and butchered to less than ninety minutes. It also didn't help that by the time Napoleon opened in early 1929, American moviegoers were too enraptured by the talkies to pay attention to a silent historical epic.

Gance tried several times to adapt the film to sound but failed to revive the film or his reputation. With Cinerama films sweeping the world in the early 1950s and no credit going to him for its invention, Gance gave in to despair and threw the negatives of his panoramas into a fire.

There it might have ended except for the efforts of a fifteen-year-old British boy, Kevin Brownlow. Discovering a two-reel abridgement of the film in his local library, Brownlow was stunned by its skill and artistry and set out to find more of this lost classic. It took him twenty-six years to reconstitute enough of the film to hold its re-premiere. On August 31, 1979, at the Telluride Film Festival, Brownlow projected a version close to five hours long, made of pieces of prints from all over the world and ending with a reconstituted multi-screen ending. The audience was stunned by the film's sweep and bravura and gave a standing ovation to the film and its creator, the 89-year-old Abel Gance, who had flown over for the showing.

In the audience was director Francis Ford Coppola. He became a devotee and brought the film to Radio City Music Hall in 1981 with a live orchestral score written and conducted by his father, Carmine Coppola. The ending, as the screen opened to reveal the panoramic panels, sent the audience into applause and cheering. Gance was by then too ill to attend but Brownlow telephoned him in Paris and let the elderly director hear the ovation for him and his film; over fifty years late but undoubtedly confirming Napoleon as one of the most powerful and important films ever made. This coming spring, the San Francisco Silent Film Festival will present Brownlow's complete 5 1/2 hour restoration for the first time in America, along with the U.S. premiere of the orchestral score by Carl Davis, at the Paramount Theatre in Oakland, March 24, 25, 31 and April 1.

Director/Screenplay: Abel Gance
Cinematography: Jules Kruger, Joseph-Louis Mundwiller, Torpkoff
Editing: Marguerite Beauge, Abel Gance
Art Direction: Alexandre Benois, Jacouty, Meinhardt, Serge Pimenoff, Pierre Schild
Music: Carl Davis, Carmine Coppola, Arthur Honegger
Cast: Albert Dieudonne (Napoleon Bonaparte), Yvette Dieudonne (Elisa Bonaparte), Suzanne Bianchetti (Marie-Antoinette), Marguerite Gance (Charlotte Corday), Edmond Van Daele (Robespierre), Conrad Veidt (Marquis de Sade), Alexandre Koubitzky (Danton), Paul Amiot (Fouquet Tinville), Annabella (Violine, Desiree Clary), Antonin Artaud (Marat), Pierre Batcheff (General Hoche).
BW-235m.

by Brian Cady

Napoleon (1927)

Napoleon (1927)

The story behind Abel Gance's Napoleon (1927) is as exciting as the film. A masterpiece adventure originally running nearly seven hours, it breaks new ground with practically every shot, was filmed with techniques twenty-five years ahead of its time, and was rescued from oblivion by an obsessed teenager. French director Abel Gance conceived an ambitious plan to film the life of the famous French leader in the early 1920s and, during a trip to America, even sought out D.W. Griffith to get his blessing for the project. Six feature films were to have presented a comprehensive biography of Napoleon but after a two-year struggle, Gance only succeeded in completing the first film before he ran out of money and time. A tireless inventor, Gance devised new ways of presenting his story. To show his hero's rapidly calculating mind, Gance splashed on screen shots containing up to sixteen superimpositions. A pillow fight becomes a flurry of feathers and action as the screen divides itself into four, then nine, separate images. This was not achieved in the lab; for each effect the film had to be exposed and re-exposed in the camera by means of complex calculations. To contrast a storm at sea with the furor inside Paris' Revolutionary Convention, Gance had the camera mounted on a swing, then sent it back and forth within inches of his actors' heads. Cameras were strapped to sleds, to horses' backs, sent underwater - anything to get the dynamic shots necessary to express the story. Gance's most incredible invention can be seen at the story's climax. Filming Napoleon's invasion of Italy, Gance found his canvas too small. He strapped three cameras together to provide a panorama that could be projected on three separate screens. The result he called "Polyvision;" a quarter-century later the same idea was re-invented as Cinerama. After the near-drowning of his lead actor, a magnesium explosion that left Gance terribly burned, and a detached retina caused by eyestrain during editing, Gance premiered his masterpiece at the Paris Opera on April 27, 1927. This three-hour, forty-minute version, ending with the three-panel panorama of the French Army marching into Italy, was heralded as the greatest triumph in French film history. An even longer version running close to seven hours played in select theaters across France. Unfortunately, the triumph quickly passed when the U.S. version flopped after being stripped of its multi-screen ending and butchered to less than ninety minutes. It also didn't help that by the time Napoleon opened in early 1929, American moviegoers were too enraptured by the talkies to pay attention to a silent historical epic. Gance tried several times to adapt the film to sound but failed to revive the film or his reputation. With Cinerama films sweeping the world in the early 1950s and no credit going to him for its invention, Gance gave in to despair and threw the negatives of his panoramas into a fire. There it might have ended except for the efforts of a fifteen-year-old British boy, Kevin Brownlow. Discovering a two-reel abridgement of the film in his local library, Brownlow was stunned by its skill and artistry and set out to find more of this lost classic. It took him twenty-six years to reconstitute enough of the film to hold its re-premiere. On August 31, 1979, at the Telluride Film Festival, Brownlow projected a version close to five hours long, made of pieces of prints from all over the world and ending with a reconstituted multi-screen ending. The audience was stunned by the film's sweep and bravura and gave a standing ovation to the film and its creator, the 89-year-old Abel Gance, who had flown over for the showing. In the audience was director Francis Ford Coppola. He became a devotee and brought the film to Radio City Music Hall in 1981 with a live orchestral score written and conducted by his father, Carmine Coppola. The ending, as the screen opened to reveal the panoramic panels, sent the audience into applause and cheering. Gance was by then too ill to attend but Brownlow telephoned him in Paris and let the elderly director hear the ovation for him and his film; over fifty years late but undoubtedly confirming Napoleon as one of the most powerful and important films ever made. This coming spring, the San Francisco Silent Film Festival will present Brownlow's complete 5 1/2 hour restoration for the first time in America, along with the U.S. premiere of the orchestral score by Carl Davis, at the Paramount Theatre in Oakland, March 24, 25, 31 and April 1. Director/Screenplay: Abel Gance Cinematography: Jules Kruger, Joseph-Louis Mundwiller, Torpkoff Editing: Marguerite Beauge, Abel Gance Art Direction: Alexandre Benois, Jacouty, Meinhardt, Serge Pimenoff, Pierre Schild Music: Carl Davis, Carmine Coppola, Arthur Honegger Cast: Albert Dieudonne (Napoleon Bonaparte), Yvette Dieudonne (Elisa Bonaparte), Suzanne Bianchetti (Marie-Antoinette), Marguerite Gance (Charlotte Corday), Edmond Van Daele (Robespierre), Conrad Veidt (Marquis de Sade), Alexandre Koubitzky (Danton), Paul Amiot (Fouquet Tinville), Annabella (Violine, Desiree Clary), Antonin Artaud (Marat), Pierre Batcheff (General Hoche). BW-235m. by Brian Cady

Quotes

Trivia

Restored in 1981 after twenty years work by silent film historian Kevin Brownlow.

Director Abel Gance was worried that the images wouldn't have the proper impact by being confined to a small screen. Gance thought of expanding it by using three cameras next to each other. For the first time, cinema utilized a rectangular image (approx. 4.00:1 aspect ratio). It wouldn't be until later that the widescreen lens would be made and it wouldn't be until the American Cinemascope that this process goes mainstream.

Miscellaneous Notes

Released in United States 2015

Released in United States April 1981

Released in United States October 14, 1971

Released in United States September 23, 1967

Released in United States Winter February 17, 1929

Re-released in United States June 20, 1989

Shown at New York Film Festival October 14, 1971.

Shown at New York Film Festival September 23, 1967.

Original silent version is in four parts of two hours each.

Recut 275 minute version released in 1971.

Released in United States 2015

Released in United States Winter February 17, 1929

Released in United States April 1981 (Shown at FILMEX: Los Angeles International Film Exposition (A Filmex Post-Exposition Special Event) April 2-23, 1981.)

Re-released in United States June 20, 1989 (New York City)

Released in United States September 23, 1967 (Shown at New York Film Festival September 23, 1967.)

Talking version, released in 1936, is dubbed and 150 minutes long.

Released in United States October 14, 1971 (Shown at New York Film Festival October 14, 1971.)