Napoléon vu par Abel Gance (1927)

Premios
- 4 premios ganados en total

Elenco principal99+

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Albert Dieudonné

Napoléon Bonaparte

Nicolas Roudenko

Napoléon Bonaparte enfant
(as Vladimir Roudenko)

Edmond Van Daële

Maximilien Robespierre

Alexandre Koubitzky

Georges-Jacques Danton

Antonin Artaud

Jean-Paul Marat

Abel Gance

Louis Saint-Just

Gina Manès

Joséphine de Beauharnais

Suzanne Bianchetti

La reine Marie-Antoinette

Marguerite Gance

Charlotte Corday

Yvette Dieudonné

Élisa Bonaparte

Philippe Hériat

Antonio Salicetti

Pierre Batcheff

Le général Lazare Hoche

Eugénie Buffet

Laetizia Bonaparte

Acho Chakatouny

Pozzo di Borgo

Nicolas Koline

Tristan Fleuri

Max Maxudian

Barras
(as Maxudian)

Annabella

Violine Fleuri et Désirée Clary

Henri Baudin

Santo-Ricci - le berger corse

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Trivia
Abel Gance remembered one scene that was removed by the censors--that of the execution of civilians by soldiers. The camera is used like a bullet, zooming towards one human target, then another, then another. The sequence is lost, although a still photograph does survive.

Errores
Junoit makes a comment about not needing sand when an artillery shell dumps soil on the sign he is painting. This is based on an actual incident, but Junot was writing a letter for Napoleon not painting a sign.

Versiones alternativas
There are apparently at least 19 different versions of this film, starting with the original 6-hours cut (in a "triptych" format, requiring three projectors on three screens, called Polyvision). It has been shown in various formats and different running times, including a 1934 version re-edited by director Abel Gance and featuring an added soundtrack.

Conexiones
Edited into Napoléon Bonaparte (1935)

Bandas sonoras
The Thrill of Being In Love (Love Theme of Napoleon and Josephine)
Music by Carmine Coppola
Lyrics by Italia Coppola (USA version)
UK version: score by Carl Davis (based largely on works by Beethoven)

Fantastic performance in London with Carl Davies

At the weekend i went to see Napoleon at the Royal Festival Hall in London. I am a relative newcomer to silent moves but too see a 5 and a half hour performance with the London Philarmonic Orchestra was incredible. Loved it, there seems to be some dispute with Coppola about the rights to this production, but if it is ever done again, it is something that any serious movie goer should make an attempt to see. And to prevent others from seeing this with an orchestra would be a travesty. The music by Carl Davies added another dimension to what was a fantastic film. It would appear that the work is a lifes work for Kevin Brownlow, he should be very proud of this acheivements.