Napoleon

[WorstFella]

The thing is, syncing the CF/Coppola/Harris version to the Carmine Coppola score would require them to speed up framerate beyond the desirable speed. This has been the case for every prior release of a Coppola version of the film that I'm aware of, and would seemingly instantly disqualify that version as inferior to the BFI's.

Not only that, but I am genuinely puzzled over how the CF version could be 45 minutes longer than the BFI/Brownlow cut, especially with such a fast FPS. Those I've spoken to with inside knowledge have expressed similar confusion, and characterized their impressions of the CF's efforts as disorganized and difficult to understand. Robert A. Harris's characterization of the CF version as being based on the Apollo version only raises more questions, as that cut was 9.5 hours long, and it's hard to see how their restoration could be substantially more indebted to that version than Brownlow's was.

But we shall see.

[MichaelB]

The Coppola score as it currently exists only works with the cut, 24fps 1980 version. For it to be effectively adapted to any other version it would need to be substantially revised at the score level - i.e. exactly what Carl Davis has been doing with his own score over the years.

[WorstFella]

The Coppola score as it currently exists only works with the cut, 24fps 1980 version. For it to be effectively adapted to any other version it would need to be substantially revised at the score level - i.e. exactly what Carl Davis has been doing with his own score over the years.

But couldn't they retain the same scoring and 24fps speed if 1. they use the score's frequent repetition and loop in other segments, or 2. they hire someone to add music to the score without substantially changing it?

[perkizitore]

Has Brownlow access to the extra footage and decided against using it? Maybe the French aren't very keen on sharing since they began on their own restoration...

[WorstFella]

Has Brownlow access to the extra footage and decided against using it? Maybe the French aren't very keen on sharing since they began on their own restoration...

From what I've gathered from Brownlow and others, he did not have access to that extra footage. The CF has indicated it is using newly discovered material to extend and upgrade the film.

Brownlow's book about Napoleon indicates a very... let's say "strained" relationship between he and the 'Theque Francaise.

[didi-5]

This is fantastic news. And cinema screenings too. I would definitely recommend catching one if you can.

[criterion10]

Any recommend articles/books on the history of the film? I'm a bit confused with regards to what the running time of the initial cut was, how Davis' score compares with Arthur Honegger's (and why the latter's won't be included), how Coppola's version compares against the Brownlow restoration, what the correct frame rate is, etc.

[McCrutchy]

Any recommend articles/books on the history of the film? I'm a bit confused with regards to what the running time of the initial cut was, how Davis' score compares with Arthur Honegger's (and why the latter's won't be included), how Coppola's version compares against the Brownlow restoration, what the correct frame rate is, etc.

Well, any score for this version would have to be recorded, and such an undertaking is quite expensive, probably just as expensive as recording a Wagner opera or two, by itself. In any event, I believe the Honegger score for the earlier versions exists only in bits and pieces anyway, and certainly, only a fraction of it has ever been released as a recording. It's Carl Davis who has been working with Brownlow since 1980 to create a score which matches the current version of the film, and so that is why only his score can be included. Even if BFI could pay to record another score, any other existant score musisc would have been prepared for a different version of the film, and so it would have to be rearranged and re-timed, anyway.

[criterion10]

I believe the Honegger score for the earlier versions exists only in bits and pieces anyway, and certainly, only a fraction of it has ever been released as a recording. It's Carl Davis who has been working with Brownlow since 1980 to create a score which matches the current version of the film, and so that is why only his score can be included.

How closely does the Davis score follow what remains of Honegger's score and Gance's original intentions? (I'm under the impression that Coppola's takes massive liberties, hence its dislike among most.)

[criterion10]

(Although I'll certainly be seeing the Cinematheque version too, when it's ready.)

Just by doing some online research, I'm under the impression that the Coppola/Harris restoration could best Brownlow's; that is, if the film is presented in its proper frame rate, utilizes all of the newly found footage (are they looking to recreate the 9-hour Apollo version, or the 6+ hour cut Gance edited afterwards?), and doesn't sabotage the restoration with a Carmine Coppola score (seems like an entirely new one would need to be recorded regardless; could Davis' be used as a template?).

[WorstFella]

I believe the Honegger score for the earlier versions exists only in bits and pieces anyway, and certainly, only a fraction of it has ever been released as a recording. It's Carl Davis who has been working with Brownlow since 1980 to create a score which matches the current version of the film, and so that is why only his score can be included.

How closely does the Davis score follow what remains of Honegger's score and Gance's original intentions? (I'm under the impression that Coppola's takes massive liberties, hence its dislike among most.)

The Davis score does not follow the Honegger score at all, largely because the Honegger score was poor by all accounts, including Gance's. The Davis score follows Gance's intent quite closely, and it's quite a marvel to hear in its best moments.

For what it's worth, the Coppola score isn't only disliked because it takes liberties. It's disliked because it's a rather poor score — instead of being composed on a moment-to-moment basis, the score frequently repeats its simplistic motifs over and over across whole scenes regardless of the individual beats, for the sake of quick composition and easier performance.

(Although I'll certainly be seeing the Cinematheque version too, when it's ready.)

Just by doing some online research, I'm under the impression that the Coppola/Harris restoration could best Brownlow's; that is, if the film is presented in its proper frame rate, utilizes all of the newly found footage (are they looking to recreate the 9-hour Apollo version, or the 6+ hour cut Gance edited afterwards?), and doesn't sabotage the restoration with a Carmine Coppola score (seems like an entirely new one would need to be recorded regardless; could Davis' be used as a template?).

The CF has been inconsistent with this. At first, their intention was to recreate both the Apollo and Opera versions of the film. They've since abandoned this goal, with the 6.5-hour version their apparent intended template. It's also not just a matter of using the newfound footage, but how well that footage is edited — often single scenes of Napoleon have had to be cobbled together from multiple sources, and while Brownlow's editing of these scenes is incredible, it's hard to say whether the CF has the material or necessary skill to do such a great job.

As far as the Coppola score... it has been extended and reused after Carmine's death multiple times already, so I wouldn't be so sure they'll record a new one. Francis Coppola has even tried to insist that any further release use an updated version of his father's score, and I wouldn't be surprised for him to balk at the idea of hiring a composer and full orchestra to perform But it's possible. Highly unlikely they'll use the Davis one as a template, given they have never shown much respect for Brownlow's efforts.

[AK]

Any recommend articles/books on the history of the film?

I heartily recommend Napoleon: Abel Gance's Classic Film (1983) by the man himself, Kevin Brownlow. A great introduction to the film, its filming and also the restoration work done on it. A nice read since it's informative, written by an expert, a passionate fan of the film who also happens to be a great writer, too. Although some printings of the book may sell for exuberant prices, its 2009 edition is available on Amazon.co.uk Marketplace for mere £15.99. A new paperback with Davis' 1980 score thrown in as a bonus.

[Ann Harding]

Any recommend articles/books on the history of the film? I'm a bit confused with regards to what the running time of the initial cut was, how Davis' score compares with Arthur Honegger's (and why the latter's won't be included), how Coppola's version compares against the Brownlow restoration, what the correct frame rate is, etc.

You just need to get Brownlow's book Napoleon - Abel Gance's Classic Film. You'll get all the information about the various versions, music, etc.

Edit: OOops! I missed the above message. If you can read French, the French edition of the book published in 2012 contains an extra chapter.

[Ann Harding]

The CF has been inconsistent with this. At first, their intention was to recreate both the Apollo and Opera versions of the film. They've since abandoned this goal, with the 6.5-hour version their apparent intended template. It's also not just a matter of using the newfound footage, but how well that footage is edited — often single scenes of Napoleon have had to be cobbled together from multiple sources, and while Brownlow's editing of these scenes is incredible, it's hard to say whether the CF has the material or necessary skill to do such a great job.

I second that. The CF restorer dismissed pompously at a conference last year all previous restorations of Napoleon as "editing jobs" while he was "reconstructing the original". Then he showed a clip of the Marseillaise compared with a 1991 CF print (BTW a print that used Brownlow's editing). The comparison was useless as this 1991 print was made before the discovery of a 1927 tinted print that contained the original edit of the scene. The restorer claims he can reconstruct the Apollo version from paperwork found at CF such as editing sheets from Marie Epstein and he never even tried to watch the latest Brownlow restoration. "No use" he said.... It speaks for itself.

[NABOB OF NOWHERE]

The CF restorer dismissed pompously at a conference last year all previous restorations of Napoleon as "editing jobs" while he was "reconstructing the original". Then he showed a clip of the Marseillaise compared with a 1991 CF print (BTW a print that used Brownlow's editing). The comparison was useless as this 1991 print was made before the discovery of a 1927 tinted print that contained the original edit of the scene. The restorer claims he can reconstruct the Apollo version from paperwork found at CF such as editing sheets from Marie Epstein and he never even tried to watch the latest Brownlow restoration. "No use" he said.... It speaks for itself.

All this self-aggrandisement and dismissal of Brownlow in the name of authenticity, only to graft Coppola's pap onto it. Lack of a sense of irony?

[McCrutchy]

Any recommend articles/books on the history of the film?

I heartily recommend Napoleon: Abel Gance's Classic Film (1983) by the man himself, Kevin Brownlow. A great introduction to the film, its filming and also the restoration work done on it. A nice read since it's informative, written by an expert, a passionate fan of the film who also happens to be a great writer, too. Although some printings of the book may sell for exuberant prices, its 2009 edition is available on Amazon.co.uk Marketplace for mere £15.99. A new paperback with Davis' 1980 score thrown in as a bonus.

I would buy this ASAP, but surely it will come back into print this year or next, possibly with some additional bits and bobs on the recent screenings and the video release, no? This seems like a perfect "accessory" for BFI to print up again for the 2016 screening.

[MichaelB]

For what it's worth, the Coppola score isn't only disliked because it takes liberties. It's disliked because it's a rather poor score — instead of being composed on a moment-to-moment basis, the score frequently repeats its simplistic motifs over and over across whole scenes regardless of the individual beats, for the sake of quick composition and easier performance.

Both scores were necessarily written extremely quickly (as, presumably, was Honegger's), but Davis was working with vastly superior source materials. Beethoven fits Gance's conception of Napoleon like the most finely tailored glove.

I've seen the film with the Davis score so many times that it's really hard to imagine it being half as effective with other music, although I'll certainly be keen to see the other restoration when it's complete.

As far as the Coppola score... it has been extended and reused after Carmine's death multiple times already, so I wouldn't be so sure they'll record a new one. Francis Coppola has even tried to insist that any further release use an updated version of his father's score, and I wouldn't be surprised for him to balk at the idea of hiring a composer and full orchestra to perform But it's possible. Highly unlikely they'll use the Davis one as a template, given they have never shown much respect for Brownlow's efforts.

From Coppola's perspective, Davis is his dad's rival, and I doubt the fact that most people who've heard both scores unambiguously prefer Davis makes it any better.

[longstone]

Any recommend articles/books on the history of the film?

I heartily recommend Napoleon: Abel Gance's Classic Film (1983) by the man himself, Kevin Brownlow. A great introduction to the film, its filming and also the restoration work done on it. A nice read since it's informative, written by an expert, a passionate fan of the film who also happens to be a great writer, too. Although some printings of the book may sell for exuberant prices, its 2009 edition is available on Amazon.co.uk Marketplace for mere £15.99. A new paperback with Davis' 1980 score thrown in as a bonus.

I would buy this ASAP, but surely it will come back into print this year or next, possibly with some additional bits and bobs on the recent screenings and the video release, no? This seems like a perfect "accessory" for BFI to print up again for the 2016 screening.

I bought a copy of kevin Brownlow's book along with the CD of the score from a seller on Amazon UK ( 2009 reprint ) and the packaging contained a hand written thank you note signed by Carl Davis. It was a nice bonus, the company selling it were Threefold Music .

[AK]

I bought a copy of kevin Brownlow's book along with the CD of the score from a seller on Amazon UK ( 2009 reprint ) and the packaging contained a hand written thank you note signed by Carl Davis. It was a nice bonus, the company selling it were Threefold Music .

Yeah, that's the one. On Amazon the seller profile is "Carl_Davis_Collection", and the company behind it is Threefold Music.

I would buy this ASAP, but surely it will come back into print this year or next, possibly with some additional bits and bobs on the recent screenings and the video release, no? This seems like a perfect "accessory" for BFI to print up again for the 2016 screening.

This would indeed be the perfect opportunity to update the English version to include the extra chapter available in the French print edition, referred to by Ann Harding above, for example, and the recent developments. Would love to have a hardback edition back in print, too. Considering that whatever written materials post-1980s BFI are going to include as extras most likely refer extensively to Brownlow's work anyway, perhaps it's happening, since its place in the history of the restoration is seminal. Would buy it in a heartbeat, and I'd imagine it'd sell rather well in the upcoming UK screenings. (Call me a pessimist, but I don't think they'll update the book just for me.)

[WorstFella]

I believe Coppola said at a CF Conference last year that the film would use his father's score... which seems to settle that question, at least for the time being.

[Kirkinson]

For those interested in getting some idea of the different composers' work (albeit apart from the film itself):

Arthur Honegger's concert suite from his score

Youtube playlist for Carmine Coppola's score

There are various tracks from Carl Davis's score on Youtube if you search for it. Any track at random will give you a strong sense of the far grander scale of the Davis score, as well as the amount of effort he clearly put into to actually scoring the action as opposed to just throwing some tunes up on the screen, which seems to have been Coppola's approach.

Honegger's score is harder to judge on those grounds since it's rerranged as a concert suite, but it does seem rather limp.

[aox]

Excellent news.

Any chance this will screen in NYC? Maybe at BAM?

[MichaelB]

Release date of the BD and DVD officially confirmed as 21 November following a theatrical reissue.

Here's the press release:

I’m pleased to let you know that we have confirmed the date for the Blu-ray and DVD releases of Abel Gance’s epic silent film Napoleon (1927), newly digitally restored by Photoplay Productions and the BFI National Archive, as 21 November 2016.

The film will have its premiere screening, with a live performance by the Philharmonia Orchestra of Carl Davis’ score (the longest ever composed for a silent film), on 6 November at the Royal Festival Hall. It will be released in cinemas by the BFI from 11 November.

Abel Gance’s heroic depiction of the rise of Napoleon Bonaparte has long been hailed as a landmark in cinema history. Reconstructed after decades of painstaking work by film historian Kevin Brownlow, the film has developed a legendary status. Featuring ground-breaking technical innovations – including its famous triptych finale – and an epic running time of 5 ½ hours, the film’s exclusive availability on 35mm has limited it to a rare number of (highly popular) screenings.

This definitive restoration (with music recorded in 7.1) presents Gance’s masterpiece in all its glory and is a must-see for cinephiles throughout the UK and beyond.

[perkizitore]

The Amazon listing is already available for pre-order!

[Drucker]

The one thing the year 2016 seems to have going for it are home video releases we never thought would see the light of day. Superb!