On Sunday, 6th November 2016 I, along with 2000 other people walked into a warmly lit and inviting auditorium. The excitement was evident from people’s conversations and as we took our seats the sense of growing anticipation was palpable. As the lights dimmed, so did the talk and we braced ourselves for something revelatory. The orchestra pit lit up revealing a seated orchestra; seconds later, composer Carl Davis, came to the podium. As the opening credits rolled, the music rose to a crescendo and the name ‘Napoleon’ appeared in bold lettering on the screen and Abel Gance’s epic began.
Originally intended to be the first in a six part series, the film explores the early life of Napoleon Bonaparte (portrayed with romantic ardour and intensity by Albert Dieudonne) and his rise during the French Revolution and French Revolutionary Wars. Through Napoleon’s eyes the film engages with philosophical ideas, such as the politics and ideals of revolutionary struggle, of national reinvention and the embodiment of national will.
The sheer genius of Gance’s magnum opus is to utilise the iconography and history of Napoleon and the French Revolution to create a film that is itself revolutionary. The scope of Gance’s vision and innovative filming techniques are evident throughout the film and notably from the famous triptych sequence at its climax – the force and magnitude of which should be enjoyed on the largest possible screen. However, Gance’s innovation is not restricted to moments of grand drama; in a snowball fight during Napoleon’s childhood, the camera is used to highlight and accentuate the excitement of the play. Strange as it may sound for a film lasting a gargantuan 332 minutes (the Royal Festival Hall performance was 8 hours including intervals), Gance demonstrates the strictest economy. Each of his creative decisions serves a clear, precise purpose, from cinematography, editing and the direction of his actors. The film also has moments of lovely humour both intentional and, occasionally, unintentional (the scenes involving a young Horatio Nelson, and a pre-BREXIT declaration by Napoleon being cases in point!)
The orchestra gave a wonderful performance. It was a real privilege to watch this epic silent film accompanied by a full orchestra performing the longest score ever composed for a silent film, with Carl Davis, at the age of 80, conducting his epic work. The power of his score was extraordinary. Overall, this screening was a unique experience and one I enjoyed greatly. At the end of the film the audience showed their appreciation with a standing ovation. Simply put it was film experience I will never forget. Anyone with sufficient stamina should go and see it as, and I do not say this lightly, ‘Napoleon’ is one of the greatest films ever made!
httpvh://youtu.be/6504eRh5h6M