Competition time! You could win two top-priced tickets for a very exciting event, Charlie Chaplin on Screen at the Royal Festival Hall.
On Sunday 10 April the Philharmonia Orchestra presents a screening of three Charlie Chaplin films, with live music conducted by Carl Davis. Chaplin’s own music accompanies A Dog’s Life, in which Charlie strikes up a friendship with a stray dog that leads him into farcical antics, and Shoulder Arms, where hapless Charlie is sent over the top whilst fighting in the First World War. Davis also conducts his own score to short film Kid Auto Races at Venice, the first ever film appearance of Chaplin’s “Little Tramp” character.
A few words from Carl Davis: “The scores are each in their own way highly evocative with a strong music hall style. A Dog’s Life even has a music hall scene in which the leading lady is accompanied by a musical saw. These, what I call ‘half features’, are a stepping stone from Chaplin’s cycle of two-reelers – The Mutuals – and his first feature-length film The Kid of 1921. Our evening opens with a real collector’s item, Charlie’s third short, Kid Auto Races in Venice released in 1914. Its significance is that Charlie is wearing for the first time on film the iconic makeup and costumes that he became so strongly identified with: the little moustache, top hat and oversized shoes. I tried to pretend I was composing for a little band that might have been brought in to entertain the public attending the race, i.e. rough and raucous!”
For your chance to win two top-priced tickets for Charlie Chaplin on Screen, simply email your answer to the following question to firstname.lastname@example.org:
Which actress appeared in two of the three films shown at Charlie Chaplin on Screen?
a) Georgia Hale
b) Edna Purviance
c) Mabel Normand
Good luck! The competition closes on Friday 1 April at 12pm.
Hold on to your three-cornered hats. This may well be the news you have been waiting for since … ooh 1980 or thereabouts. BFI and the Photoplay have announced jointly that Napoléon, Abel Gance’s silent masterpiece, is coming to a screen near you – whether that is a concert hall, cinema, TV or computer. We all have three-screen TVs right?
So you can see Napoléon (1927) with the Philharmonia orchestra at the Royal Festival Hall this autumn – and many of us know what a treat that can be – but it will also be available to buy on DVD/Blu-ray, to stream on the BFIplayer and theatrically released in cinemas too. And make no mistake, this is the Kevin Brownlow restoration with Carl Davis’s epic score – the definitive five-and-a-half hour version of Napoléon that you really need in your life.
And while the live and cinema screenings will be magical experiences, I am getting a little thrill from the idea of being able to rewind sequences from the film and look at them again, and more closely. The snowball fight, for example! As that occurs at the the beginning of the movie, it could take me some time to get right to the end …
I won’t say too much more now, as we will no doubt be talking about Napoléon all year, which I am hugely looking forward to. But I do want to share some details about the restoration, and the people who made it possible. For example, we have been told that the digital process of restoration has cleaned up some damage in the 35mm print and allowed for greater capacity to recapture the tinting and toning of the original film.
This project has been achieved thanks to major work undertaken by the experts of the BFI National Archive and Photoplay Productions working with Dragon DI post-production in Wales, and to the generosity of Carl Davis and Jean Boht, who have made possible the recording of the score by the Philharmonia. The original restoration of the 35mm film elements in 2000 was funded by the generous support of the Eric Anker-Petersen charity, with the support of many archives around the world but especially the Cinémathèque Française and the Centre Nationale de la Cinématographie in Paris.
The film has been entirely re-graded and received extensive digital clean-up throughout, all of which offers significant improvements in overall picture quality. This is the most complete version of the film available, compiled by Academy Award™-winning film-maker, archivist and historian Kevin Brownlow who spent over 50 years tracking down surviving prints from archives around the world since he first saw a 9.5mm version as a schoolboy in 1954. Brownlow and his colleagues at Photoplay, initially the late David Gill, and then Patrick Stanbury, worked with the BFI National Archive on a series of restorations. The film version has been screened only 4 times in the UK since the year 2000 at memorable events with full orchestra performing the original score by composer Carl Davis.
I’m proud to be bringing people back to the cinema, in an age when people will happily watch Lawrence of Arabia on their mobile phones. Napoleon is pure cinema, and cinema was designed for sharing. There’s something about the way it was shot that makes it like no other. I can’t tell you how many people, having seen our restoration, have said: “That was the greatest experience I have ever had in a motion picture theatre.” Kevin Brownlow, How we made – Napoleon, theguardian.com
My eyes and ears are still adjusting back to normality. Yesterday’s screening of Abel Gance’s Napoléon at the Royal Festival bombarded the senses and befuddled the brain. It was not, as you may have been warned, a marathon. The five-hours-forty-minutes running time appears to go by in a flash, powered along by Carl Davis’s invigorating orchestral score. I would happily watch it all again tomorrow and the next day, and for as many times as it took to get to the bottom of its many mysteries.
Right then, six hours of Abel Gance's Napoleon with live orchestra, Here I Come.
Because despite the pleasures it offers, this is not an easily digestible film. Napoléon’s open-ended structure, which closes just as Bonaparte’s career takes flight, doesn’t help. It’s also a film of unexpected variety, and yes, unevenness, if only because its very best sequences are impossible to match. Immense but not immaculate, Napoléon is at times a masterpiece and at others a sketchbook of enthralling, intricate designs. The magic is that Gance’s ambition is every bit as exciting as his achievements. After just one, eagerly anticipated screening, I may be addicted.
I’m not going to attempt to write a review proper this morning, but I did want to give a flavour of the film, the event and the audience’s reaction to it.
Napoléon is a biopic that pairs the grandeur of its subject’s work and vision with its own cinematic innovations. You will have read about the triptychs that close the movie (more of which later) but perhaps you’ve also heard about the flash cuts, superimpositions, multiple exposures and the cameras thrown, whirled, mounted on horseback. The first act of the film, in this restoration by Kevin Brownlow, contains much of its experimentation and bravado. It follows Napoléon as an unhappy alienated schoolboy, and his disastrous return as a young man to his native Corsica. The snowball fight that opens the film, in which Bonaparte and nine chums strategise their way to a crucial victory over 40 of their peers, led by a particularly unscrupulous pair of urchin villains, is a beauty – staged as if were the culmination of a bloody war. Likewise the frenzy of a pillow fight in the dorm. Vladimir Roudenko as the young Bonaparte is marvellous too – showing far more pluck and passion than Albert Dieudonné in the adult role. There is pathos and humour here, as throughout the film, but Napoléon excels at bombast, exemplified by the sequence that closes the act: Bonaparte, lost at sea in a boat with a Tricolour sail, thrillingly cross-cut with uprisings at the Paris Convention.
So far, so much like what I expected from Napoléon, although more exhilarating that I hoped it could be. What I wasn’t prepared for was a sudden shift in tone, as the second act lingered on the battlefield – crowded, red-tinted frames of bloody combat. Memorable details: a drowning man’s hand thrashing the in the mud, a cannon-cart rolling over a fallen soldier’s ankle. This typifies the movie’s take on history: grim faces, skewiff hairdos, grit and squalor. The film punctuates Bonaparte’s moody middle-distance staring and eloquent intertitle speeches with a mode one might call grotesque realism – whether it’s the exposed flesh of dancers at a ball, the tattered foot bindings of the Italian army or Napoleon’s cardboard boots disintegrating in the gutter, this is visceral stuff. And a note on realism: Napoléon footnotes all bona fide incidents and quotations with a “(Historical)” label on the relevant title. Not quite as clunky as it sounds, several “based on a true story” films would benefit from a similar device. Who knew that a clerk ate Josephine’s accusatory dossier to save her from the guillotine? Or that Nelson wanted to sink Napoléon’s “suspicious” boat on his return from Corsica, decades before Trafalgar?
After the long dinner interval, and much inevitable analysis and debate, the third act proved the most controversial. While the sequences exploring the Reign of Terror, from the ructions in the Convention, to brutality of the authorities (including Gance himself as a rather glamorous Saint-Just) were universally admired, many audience members I spoke to were of the “Not tonight, Josephine” persuasion. The courtship between Bonaparte and Josephine is strange, truncated and slightly unsettling. An impressionistic montage of their previous meetings suggest Napoléon’s passion for his lady, but a queasy sequence in which he embraces a globe superimposed with her face shows that his motivations may not be entirely romantic, with Josephine just another territory to be conquered as he builds his empire. The shadow of this bizarre love story is Violine, the young girl infatuated with Napoléon, who insinuates her way into Josephine’s household, imitates her dress and keeps a shrine to the General above her bed. Hardly edifying, but I found these glimpses of the warrior’s homelife fascinating, and enjoyed the tension between these awkward scenes and the single-mindedness of his military strategies.
The morning after #Napoleon. Really, everything pales after seeing Brits weep openly during the finale last night.
Seven hours after first taking our seats, we assembled for the finale. I freely admit that my lower lip had already wobbled as the titles rolled at the start of the film (“This is it! I’m watching Napoléon!”) but according to my sources, Napoléon was at its most most Napoléon in its last 20 minutes. Not long to wait. In fact, the final hour breezes by, as Napoléon sets out to conquer Italy (writing passionate love letters to the missus in his carriage even while he dispatches orders to his riders). The troops are dilapidated, and morale is as low as funds, but the mountain landscapes are incredible. So, as Napoléon rallies his men with more fine words, it’s just a matter of time before the screen grows, the orchestra soars and Gance’s Polyvision finale kicks in. The panorama shots, after five and a half hours of Academy Ratio, are enough to send anyone into a spin, but when Gance designs each frame individually, multiplying his montage techniques, using colour and superimposition and animation, the the effect is truly astonishing. And at the centre of it all, Dieudonné’s graven face, beneath that famous hat, surveying his own triumph. It’s a monument to patriotism of course, but in the RFH last night, our awe at the work of Gance, of Brownlow and of Davis, rekindled our devotion not to a country but to the cinematic arts. A magnificent monstrosity, Napoléon offers refined beauty, raw thrills and a thousand and one reasons to adore the cinema.
“There’s nothing that matches the experience of going along to see it. It’s incredible. Word has gotten round: this is fun, this is extraordinary.” Carl Davis, How we made – Napoleon, theguardian.com