Sisif, a railwayman, and his son Elie fall in love with the beautiful Norma (whom Sisif rescued from a train crash when a baby and raised as his daughter), with tragic results. Originally ... See full summary »
Gabriel de Gravone
The year is 1816, and NAPOLEON, held prisoner by the British on the island of St. Helena, is telling the young English girl BETSY his life story. His meteoric rise to military prominence ... See full summary »
From 1769 to 1821, Napoléon Bonaparte's life, loves and exceptional destiny but as seen through the eyes of Talleyrand, the cynic and ironic politician, who once was the Emperor of France's Minister of Foreign Affairs.
In documentary style, events in Petrograd are re-enacted from the end of the monarchy in February of 1917 to the end of the provisional government and the decrees of peace and of land in ... See full summary »
Sergei M. Eisenstein
In 1918 a simple Mongolian herdsman escapes to the hills after brawling with a western capitalist fur trader who cheats him. In 1920 he helps the partisans fight for the Soviets against the... See full summary »
A re-edited version of Abel Gance's silent masterpiece 'Napoleon (1927 )', with sound effects added, dialogue post-dubbed by actors over the lip movements of the original actors, and with ... See full summary »
A group of teachers argues about what text to choose to teach history in their school. When they leave the meeting room the two busts of Napoleon and Julius Caesar, which are in the room, ... See full summary »
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. Written by
Michael Brooke <email@example.com>
Several cast and crew members were severely wounded as a result of an unscheduled explosive detination. Among the injured was director Abel Gance. See more »
Junoit makes a comment about not needing sand when an artillery shell dumps soil on the sign he is painting. This is based on an actual incident, but Junot was writing a letter for Napoleon not painting a sign. See more »
Different versions should be reviewed/scored separately
I was one of the thousands who were fortunate enough to see the fullest version of Napoleon at the Royal Festival Hall in early December 2004. As noted in 'alternate versions', this may prove to be the last showing until the second half of the Century (when copyright lapses) of what is so far the definitive version of the film.
It was a truly memorable experience. I had not seen 'Napoleon' for several decades, and that was a shorter version with piano accompaniment ~ though still played at the correct speed. This longer version at the correct speed with The London Philharmonic Orchestra and the RFH organ playing in full volume for the climax was a mind-blowing experience. I have not seen Coppola's 'keystone cops' version, but if the trailer on this website is any guide, with Napoleon strutting in Chaplinesque mode, it seems a travesty of what I saw; More 'Homage to Mack Sennett'.
It is clear that these two versions are radically different. It seems grossly unfair to score and review the two main versions in a single poll as if they were the same. The 95 minute difference in running time is longer than many complete films reviewed on this site ~ such as Bronenosets Potyomkin from the same era. There are clearly enough reports/votes to permit the two versions to be scored separately. I suspect the approval rating of the longer version would be significantly higher than for the Coppola version.
It there is ever another opportunity to see this latest version (or even better, an even fuller version) with the Carl Davis score, I shall do my utmost to seize the opportunity.
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