Sisif, a railwayman, and his son Elie fall in love with the beautiful Norma (who Sisif rescued from a train crash when a baby and raised as his daughter), with tragic results. Originally ... See full summary »
Gabriel de Gravone
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
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>
Some footage was shot in dual-strip 35mm 3-D format, though this wasn't included in the final release print nor any subsequent re-release version. Sources suggest this footage still exists. 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 »
an emotional extravaganza that reaches across time
I had the privilege of seeing the restored version of this film, to the accompaniment of a live orchestra under the baton of Carmine Coppola, in Los Angeles' un-air-conditioned war memorial. Despite uncomfortable seating and terrible heat, the experience of this four hour movie remains a watershed for anyone who attended. To think that because of the invention of sound, this masterpiece was partially destroyed by Abel Gance in a fit of depression, is heartbreaking. More shocking is that Gance's invention of Cinemascope - of which today only the end of the film retains in its triptych screen effect - was lost to filmgoers until its reinvention years later.
Obviously true art can't be hidden forever, and Gance did live to see Napoleon take its rightful place in cinematic history. Though it is many years later, I can still remember the tears and the ovation when the black screen with the white signature, "Abel Gance", signified the end of the film. A compelling and great work of art.
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