85 years ago was released a film that was visually outstanding and completely unbelievable and that film was Napoleon. This great spectacle was achieved by completely new camera techniques, color and really ambitious crowd scenes. The film was an instant masterpiece. This was proved when the film was restored in 1970s and the film was as good as it was 50 years earlier.I must say I saw that Napoleon had become a victim of the fang of time even though many people don't want to confess it. Bad picture quality and fastened scenes made this film a bit boring in some places (particularly Revolution scenes). Another thing that showed Napoleon's age was the music. The film had some five pieces that were repeated all over again. Even though they were pretty good, they began to test my nerves after 3 hours.Even then the weaver may see what he wants and if one concentrates enough these faults don't bother. At times I forgot the the outlook and just watched great art direction, acting and great story. The film offers a very deep look into Napoleon's early life, a period rarely talked today.Ironic as it is this film would be terrible if it was released today because it would be too talkative and slow. This is something why Gance's Napoleon is a good and very important film. It benefited the whole film industry by introducing technology that was superior even when compared to 50s. What I expected was a boring film that was too ambitious but it turned out that I was wrong. The film is extremely potent and should be more known. Because of a dated look and weak moments this film receives a score of seven.

March 24, 25, 31 and April 1, 1:30pm, The Paramount, Oakland The Eagle of Destiny The life of Napoléon Bonaparte as the heroic savior of France is revealed from age ten to twenty-seven. Beginning with his boyhood at military school in Brienne, Boneparte is viewed as an outcast and a leader. Emerging as a young officer during the Revolution, the adult Boneparte (Albert Dieudonné) is first seen in Paris at the Club des Cordeliers where Danton introduces La Marseillaise to the mob as their national anthem. Bonaparte then attempts to unify his native Corsica, survives The Terror, becomes the hero of Toulon and embarks on his conquest of Italy.Directed by Abel Gance, Napoleon (1927) was initially conceived as the first of six chapters on the life of Bonaparte. Cut by MGM from an original 29 reels to eight for its 1929 American release (with von Stroheim's Greed a fresh memory), restoration of Napoleon became the life work of film preservationist Kevin Brownlow in 1954.

This is a Great Film. I watched this when I was about 10 and together with Ivan the Terrible, it's just one of those magnificent, huge Films that has such scope to it and makes your spirits soar. Even if the man was a demented little dictator with no knowledge of Naval Strategy. I can't believe I still get emotional when I see the young Napoleon with his Eagle at the School, after he has been punished, his friend that comes to him, France IS CALLING HIM! I'm an Officer in the Royal Navy, I should pull myself together! Abel Ganz started strapping cameras to horses and throwing them off cliffs on ropes to get the shots he wanted, and this was when cameras were bloody expensive! Well done that man. No messing about, if he knew what image he wanted to see, he would do what was necessary to show it. And if he wanted you to see more then he would split the screen up and show you it! Amazing.Well, there you go. A brilliant film.

My recollection of "Napoleon" is of a wonderful evening of first-rate movie and first-rate score, with Gance's work on three screens and Carmine Coppola conducting a full orchestra. While it may not do justice to the continually evolving cinematic extravaganza described in the other review, it is nonetheless the version I've grown up with and viewing it remains one of my favorite life experiences.I applaud anyone who has had a hand in this project and has continued to update, revise, and otherwise revisit this very noble film. It seems to have taken on a life of its own in terms of restored versions. The newly performed work may be superior to Coppola's initial resurrection but without Coppola's vision, would it have become the phenomenon it is today? I'm pretty sure he's entitled to protect his initial investment (of time, energy, money, and media) even as the movie itself changes with each new find. In the end, the consumer (from any country) will seek out the version he wishes to own -- passing judgement by consumption.I would not hesitate to acquire both versions, frankly. It's not about who did the better job, it's about the evolution of the film since it was first dusted off.