Sometimes a film exists beyond words (spoken or not) and there’s no description that can accurately prepare one for what they are about to see. Some films exist solely on a visual level, are so purely cinematic, that nothing anyone could ever say about them could speak as well as the images from the film themselves. Hell, but that won’t stop film buffs and writers like myself from giving it the old college try.
Recently, I was lucky enough to have someone over there at the incomparable Wonders in the Dark toss me a copy across the pond of the Kevin Brownlow restored version of Abel Gance’s Napoleon. It included the Thames Television cut of the film (which runs over five hours and is presented mini-series style in three parts) with both the TV tailored single frame version of the Italian set finale and the phantasmagoric tripped-out red-white-and-blue triptych that is unlike anything ever seen before or since. I’ve been told this is the definitive way to view the film and far superior to the Coppola produced version that came out stateside around the same time in 1980.
If a director were to compose a film today like Abel Gance composed his untethered and monstrous epic Napoleon in 1927, it would be called audaciously experimental. Continue reading