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Napoleon (1927)
"Napoléon" (original title)

7.4
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Ratings: 7.4/10 from 4,886 users  
Reviews: 52 user | 24 critic

A film about the French Field Marshal's youth and early military career.

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Title: Napoleon (1927)

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Cast

Cast overview, first billed only:
...
Vladimir Roudenko ...
...
Alexandre Koubitzky ...
...
Abel Gance ...
Gina Manès ...
Suzanne Bianchetti ...
Marguerite Gance ...
Yvette Dieudonné ...
Élisa Bonaparte
Philippe Hériat ...
...
Eugénie Buffet ...
Acho Chakatouny ...
Nicolas Koline ...
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Storyline

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 <michael@everyman.demon.co.uk>

Plot Summary | Add Synopsis

Taglines:

Abel Gance's 1927 Masterpiece [reissue]


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Details

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Release Date:

17 February 1929 (USA)  »

Also Known As:

Abel Gance's Napoleon  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

(DVD edition) | (2000 restoration) | (1981 restored) | (cinémathèque française print)

Sound Mix:

(1981 re-release)| |

Color:

| (tinted) (some sequences)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Shown in its entirety and presented by Francis Ford Coppola in New York's Radio City Music Hall on 23rd January 1981. See more »

Goofs

In Act IV - the Army of Italy sequence - there are a couple of shots of Napoleon's head where the image has been flipped. This is obvious because usually when viewed from the front, the tricolor on Napoleon's hat is over his left eye (the viewer's right), whereas in the flipped clips it's over his right eye (the viewer's left). See more »

Connections

Referenced in Historia del cine: Epoca muda (1983) See more »

Soundtracks

The Thrill of Being In Love (Love Theme of Napoleon and Josephine)
lyric by Italia Pennino
music by Carmine Coppola
See more »

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User Reviews

A hundred years ahead of its time
1 September 2002 | by (Washington, D.C.) – See all my reviews

Modern film-goers are used to explication, to having everything explained for them. The art of visual story-telling -- where images and action indicate the emotional state of characters, rather than have the actor tell you how angry or sad or excited they are -- has almost been lost. But "Napoleon" is a masterpiece of visual art. (Writer-director Abel Gance was honored at the Telluride film festival a few years ago for this film. Far too late, in my opinion.)

The film tells the life of Napoleon Bonaparte -- the Corsican who adopts France as his homeland, rises to supreme general of the French armies during the Revolution and eventually seizes the seat of government itself (twice!). It starts out with a lengthy (if perhaps mythological) examination of Napoleon's childhood in a Catholic school. Snowball fights between Napoleon and two future foes portend the future. Napoleon's friendship with a pet eagle foreshadows his role as emperor of France. But even though these scenes represent more artistic license than history, they are tremendously well-acted by the young Vladimir Roudenko (as young Napoleon). Among the many innovations are some relatively naturalistic acting by the members of the cast and some jaw-dropping editing and montage sequences (especially during the brawl during the snowball fight and the fight in the sleeping quarters). Such innovative use of editing probably wouldn't be seen for another 30 or 40 years!

After almost an hour of this three-hour epic, we're transported to the period of the adult Napoleon -- acted with gravitas and iciness by Albert Dieudonne (who is among the cast's taller actors, just as Napoleon was in reality fairly tall, too). The film dwells extensively on the formative period when Napoleon first arrives in Paris during the late Revolution, focusing heavily on how the chaos in the city stamped into Napoleon the authoritarianism and dictatorial leadership traits that would emerge later in life. This is perhaps the highlight of the film. The editing and visual images create a swirling, spinning, mind-blowing effect that is extremely effective.

The film then focuses on Napoleon's return to Corisca -- whose people held allegiances to Spain and Italy as well as France, and where Napoleon faced imprisonment due to his French leanings. For anyone interested in learning more about the life of Napoleon, this segment is pretty eye-opening. It's followed by a sequence at sea that's amazingly effective in conveying the power and terror of a storm at sea. For its time, this film contained some powerful ocean footage (watch for those amazing low-angle shots, and the ingenious intercutting of the "angry storm" of the French assembly and Napoleon's tiny skiff tossed about on the stormy seas).

The final hour and a half of the film depicts Napoleon's rise in the army and his tenure as emperor of France. This is perhaps the portion of the film that most viewers would think of as "the story of Napoleon." But perhaps one of the reasons why this film is so fascinating is that it delves deeply into the formative episodes in Napoleon's early life and gives as much importance to them as to his later actions on the battlefield in Italy, his tenure as emperor, and his subsequent exile, return, and exile. And the film does so without being heavy-handed, un-subtle or overly expositive.

A restored version of "Napoleon" is making the rounds in the US in cinemas and on television. It contains a new musical soundtrack by Carmine Coppola, which is fairly good (although at times repetitive and too loud). The film was restored and re-edited by Francis Ford Coppola's Zoetrope studio. Zoetrope added some tinting (the ocean scenes are all blue, the "angry mob" scenes are all red) that is interesting but perhaps not quite the "restoration" some viewers might have had in mind.

Watch "Napoleon." You'll be very surprised at how modern the film is. Compared to other silent films of the 1920s, with the undercranked action, overly emotive acting, fantastic plots and theatrical make-up and costumes, "Napoleon" is years ahead of its time. Silent films require concentration to watch. "Napoleon" will keep your interest.


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