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
Hans is a street fruit peddler and born-loser. His choice of career upsets his bourgeois family, causing him to turn to drinking and violence. After recovering from a debilitating heart ... See full summary »
Rainer Werner Fassbinder
Attraverso sei episodi distinti ed indipendenti uno dall'altro, il film rievoca l'avanzata delle truppe alleate in Italia. Il primo parla di un episodio dello sbarco in Sicilia : una ... See full summary »
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 »
The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but ... 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 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>
The snowballs in the snowball fight scene were actually balls of cotton. During shooting, one of the child extras threw a real one with a rock in it. It his Vladimir Roudenko square in the face and broke his nose. See more »
The French troops attacking Toulon and the Army of Italy use flags with triangles in corners, the pattern introduced in 1804. In 1793, the pattern was based around a large central cross with the regimental number surrounded by a wreath, with different patterns and colours in the four corners (one flag similar to this is seen carried by the Army of Italy). See more »
Amazing achievement, but beware of US release version
The (more or less) full length version of Gance's NAPOLEON assembled by Kevin Brownlow over many years is an absolutely astounding achievement, both for Gance's inspired execution of a vision nearly too big for the screen, and Brownlow's dedication and perseverance, not to mention his superb reconstruction skills in bringing such a masterpiece back for the enjoyment of the world.
Well, not the whole world... Despite all this effort, the full restoration cannot be seen in the United States, on video or theatrically. It's a long story, but I just wanted potential and past viewers of this film to be aware of a few things:
-First of all, though video may be the only way to see this film in the U.S., keep in mind that home video can not even come close to providing the proper setting for such a gorgeous and epic film. The word "epic" has in fact never been so appropriate. So while I don't discourage people from seeing the video for lack of theatrical viewing opportunities, remember that the film was made on and meant to be seen on a grand scale.
-Secondly, the version currently available in the U.S. is not shown at the correct speed (24fps instead of the necessary 18/20fps). Also, it is missing footage. It is my understanding that in order to provide wider release possibilities in the U.S. upon the completion of the first major restoration in the '70s, the U.S. prints were edited somewhat to cut down on the admittedly long running time. This is also why the film is shown faster in the U.S., at "sound speed" or 24 frames per second. The newest restoration runs at 333 minutes, while the U.S. version is only 235.
The primary reason why the latest, glorious 2000 restoration of the film cannot be seen in the U.S. lies mainly with Francis Ford Coppola. Coppola controls the U.S. distribution rights, and allows only the U.S. version - with a score written by his father - to be shown. This is unlikely to change in the near future, so until then, deal with the substandard videotapes or plan your next European trip around one of the periodic English screenings of the film version - believe me, it's worth it!!
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