A biopic of Napoleon Bonaparte, tracing the Corsican's career from his schooldays (where a snowball fight is staged like a military campaign) to 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.
Albert Dieudonné Vladimir Roudenko Edmond van Daële Alexandre Koubitzky Antonin Artaud Abel Gance Gina Manès Nicolas Koline Annabella Marguerite Gance Yvette Dieudonné Eugénie Buffet Maurice Schutz Philippe Hériat Acho Chakatouny Louis Sance Suzanne Bianchetti Georges Cahuzac Max Maxudian Harry Krimer Francine Mussey Robert Vidalin Henri Baudin Daniel Buiret Adrien Caillard Roger Blum Pierre Batcheff Alex Bernard Carrie Carvalho Show All…
Henri Andréani Viktor Tourjansky Pierre Danis Jean Mitry Henry Krauss Mario Nalpas Alexandre Volkoff Georges Lampin Sacher Purnal Jean Arroy Anatole Litvak
Alexandre Benois Alexandre Lochakoff Vladimir Meingard Eugène Lourié Georges Jacouty Pierre Schild Serge Piménoff
Société Westi Ciné France Films Abel Gance Isepa-Wengeroff Film Pathé Consortium Cinéma Société générale des films
Napoléon Bonaparte, Napoléon vu par Abel Gance, Abel Gance's Napoleon, Napoleão, Наполеон, Napoleón visto por Abel Gance, Napoleón, Napóleon, Napoleone, Napolyon, 나폴레옹, Napoléon, 拿破仑
France
4h10 - « Opéra » version (short version) with Final Tryptych
France
9h22 - « Apollo » version (long version) without Final Triptych
Italy
Restoration (by Henri Langlois and Marie Epstein), Venice Film Festival
France
7h restoration (La Cinémathèque française), Cannes Film Festival
Germany
France
USA
France
France
UK
France
FranceTP
UK
Netherlands
FranceTP
France
Germany
Italy
Netherlands
UK
USA
That feeling when people were mean to you when you were like 9 so you decide to become the Emperor of France
Napoléon qui réserve un airbnb : ça c’est un bon appart !
There are films that entertain us, films that move us, films that make us think. And then there is Abel Gance’s Napoleon, which goes beyond any of these categorizations, a cinematic storm that sweeps you up and throws you directly into the hurricane of History, into the whirlwind of revolution, and into the unbreakable spirit of a man who shaped his time. Watching this film is an overwhelming experience, a dizzying jump into the essence of cinema as an absolute art. For anyone who considers themselves a cinephile, this will never be a recommendation, but an obligation in the name of art. (if you study cinema theory you will have to watch anyway)
Gance does not simply tell the story…
Yesterday saw a rare screening of Kevin Brownlow's near-mythic five-and-a-half-hour reconstruction of Abel Gance's silent film Napoleon, a labour of love that has dominated more than 50 years of the historian's life, but has never been available on home video, and maybe never will be, due to ongoing and thorny contract wrangles with Francis Ford Coppola, who has his own version, which is incomplete, runs at the wrong speed and has a score written by his dad.
Brownlow's version, by contrast, is scored by arguably the greatest of all silent film composers, Carl Davis, his collaborator on the legendary Thames Silents project in the 1980s, and the man responsible for two of the all-time great soundtracks: The Student Prince in…
In the early 1800s, Ludwig van Beethoven was writing his third symphony in honor of Napoleon Bonaparte. It was a paean to the (as Beethoven perceived him) military genius and liberator from Corsica, and it only became known as Eroica (as opposed to simply being named for Napoleon) in the wake of Napoleon's turn toward "true imperialism" after becoming officially the Emperor of France. Others alive at the time (and later, of course), viewed him as a tyrant, a villain. Before Hitler became a byword for evil, many Europeans used "Napoleon" as the point of comparison for all the evil of humanity. The truth of the matter is, as ever, in between the two, I am sure, but this film…
A thick textbook on how to shoot a picture so much that it was just immediately scorched onto my brain. Most likely my favorite silent film, but it honestly feels disrespectful to limit it to only silent pictures because this is one of the best flicks, period. Images on top of images—there’s nothing better than that. There are so many great double exposures that make my eyes pop out like a Looney Toons character. You have some great double exposures in a particular storm sequence where we have the image of our scared passengers combined with the crashing waves. There’s another great storm sequence with just Napoleon on a boat attempting to sail in the storm, which is quite brilliant.…
***One of the best 150 films I have ever seen.***
"From now on, I am the revolution!"
That single key phrase highlights Gance's main intentions. To think this was supposed to be the first out of 6 parts, and yet the monumental ending of epic proportions has already become the most celebrated visual collage of the 20s. Dieudonné is dazzling as the political figure that changed the course of humanity's history. Griffith and Gance: the true creators of epic cinema. Napoléon is meant to amaze audiences eternally, from its technical accomplishments and historical value, to the "militia" allegory that introduces the character's infancy. Absolute masterpiece.
100/100
ashamed to say that after spending all afternoon quietly watching and absorbing this 5 hour and 30 minute long silent film masterpiece the only thing I can think to say is "hahaha what if his name was WAPoleon"
Took about 4 days to watch but it was well worth it.
Robespierre with the gucci shades
Pau no cu dos Coppola e dos Ridley Scott. Viva os Kevin Brownlow e os Luc Moullet.
Fiquem em casa e vejam cinema de graça e pirata ao invés de irem ao cinema para serem coagidos por uma sucessão de fotos do Instagram e de lambuja encher de dinheiro os bolsos de inaptos das telas como Scott, Spielberg, Serra etc.
nietzsche says that monumental history -- the histories of genghis khan, jesus christ, mohammed, alexander, mao zedong, napoleon -- is the history which may “magnify the concept of man, giving it a more beautiful content" and that one “learns from it that the greatness that once existed was in any event once possible and may thus be possible again" -- a perennial greatness which is an inspirational reservoir for all models of greatness to come.
the presence of these figures always seems to supersede any historical details which may be known about them -- they do not exist for the historian's eye, but rather stride atop the course of history via their monumental stature in the same way that the…
