Coppola/Zoetrope version of Napoleon? (1 Viewer)

[owen35]

Our work is moving along, but the film is impossible to run with Covid still biting at our heels.

Uuughhh, of course. I keep forgetting how the pandemic is thwarting all of these projects. Thanks.

 

[Robert Harris]

Uuughhh, of course. I keep forgetting how the pandemic is thwarting all of these projects. Thanks.

Just think - 62 piece symphony orchestra, huge venue, and an audience to cover those costs.

 

[mBen989]

Just think - 62 piece symphony orchestra, huge venue, and an audience to cover those costs.

And at least four projectors or does this version not have the triptych finale?

 

[Robert Harris]

And at least four projectors or does this version not have the triptych finale?

Four

 

[Dick]

What differences, aside from Region codes and score, might we anticipate between the eventual U.S. release and the BFI?

 

[Robert Harris]

What differences, aside from Region codes and score, might we anticipate between the eventual U.S. release and the BFI?

US will run a bit over five hours, with judicious trims, all approved
by Abel Gance.

When it arrives on Blu-ray, the US will also have a reconstruction of the M-G-M version as an extra.

The BFI is longer by about half an hour.

 

[Stephen_J_H]

US will run a bit over five hours, with judicious trims, all approved
by Abel Gance.

When it arrives on Blu-ray, the US will also have a reconstruction of the M-G-M version as an extra.

The BFI is longer by about half an hour.

So why willl the BFI be longer, given bolded text above?

 

[owen35]

So why willl the BFI be longer, given bolded text above?

The version that Gance showed at the Opéra de Paris in 1927 ran 4 hours and 10 minutes (known as the Opera version). After many years and multiple versions (one 9 hours long), the film was pieced back together by Kevin Brownlow to 4 hours and 50 minutes (at 20fps), which premiered in Telluride. Coppola and The Film Preserve Ltd. purchased world rights outside of France (donating rights to BFI and Photoplay) and released it with Carmine Coppola's score. However, Coppola's version was presented at 24 fps, which shortened it to a 4 hour running time.

Since that time, Brownlow has continued to expand the length of the film as more footage was found. His final version of his restoration efforts was shown in Oakland with Carl Davis' score several years back and was eventually released by the BFI on BluRay. That version runs 5 hours and 30 minutes.

Seven years ago there was a joint announcement with Coppola and the Cinemathèque Française about restoring the film to the Apollo version and possibly using Carmine Coppola's score. The Apollo version originally ran 9+ hours, but due to the loss of footage after almost 100 years, they are only able to achieve a 7 hour running time. There are plans to present the Apollo version with a full orchestra in France once it is completed. Nothing has been announced about showing it beyond France.

Perhaps--and this is pure conjecture--Coppola and Harris are planning on presenting the '81 version utilizing the efforts done alongside the Cinemathèque Française. Coppola has shown it in the past at his winery in Napa, so it would make sense that he'd do that. It could be that they are restoring the original Opera version and running it at the correct frame rate. (It's approved by Gance because he edited the Opera version.) That would give us, with intermission, close to a 5 hour mark. This could, possibly, include a live orchestra presentation, but nothing has been publicly stated about that.

One interesting tidbit that Harris posted above was the release of the MGM version. This edit was based on the Opera version and released 2 years later in 1929 but only in black and white--no tinting or toning. It is noted as running 8 reels, which I think would be about 90 minutes.

Regardless, though we are not there yet, it is very exciting what could be coming our way.

 

[Robert Harris]

We presented our shows at 24fps.

As to rights, our entities hold world rights outside of France (and certain French speaking territories), and the UK, the rights for which we donated to the BFI and Photoplay

 

[Robert Harris]

Also, our trims and deletions are not based upon the Opera version, but rather, discussions with Abel Gance.

 

[owen35]

We presented our shows at 24fps.

As to rights, our entities hold world rights outside of France (and certain French speaking territories), and the UK, the rights for which we donated to the BFI and Photoplay

Thank you for correcting about frame rate.

And, yes, I do now recall that you donated those rights to BFI and Photoplay.

Apologies for getting that wrong. I've amended my post to be more accurate.

 

[Robert Harris]

Thank you for correcting about frame rate.

And, yes, I do now recall that you donated those rights to BFI and Photoplay.

Apologies for getting that wrong. I've amended my post to be more accurate.

No apologies necessary. Especially from someone with prays at the altar of David Lean.

 

[Patrick McCart]

IIRC, the subplot with Violine was first on the chopping block per Brownlow's book. While they're charming moments, they're the most disposable. From comparing the 80s Thames broadcast, Zoetrope VHS, and BFI Blu-ray, I recall bits of Napoleon visiting Corsica missing, as well as the ending having part of the single-screen finale between his writing to Josephine and the expansion to 3-panel.

 

[Robert Harris]

IIRC, the subplot with Violine was first on the chopping block per Brownlow's book. While they're charming moments, they're the most disposable. From comparing the 80s Thames broadcast, Zoetrope VHS, and BFI Blu-ray, I recall bits of Napoleon visiting Corsica missing, as well as the ending having part of the single-screen finale between his writing to Josephine and the expansion to 3-panel.

I had asked Abel about why Violine is so prominently displayed. He smiled, and acknowledged that her appearances stop the plot in its tracks.

 

[Dave B Ferris]

LA Times has an obit for Tom Luddy today.

 

[Robert Harris]

LA Times has an obit for Tom Luddy today.

I'm still taking that one in. Tom's passing is a HUGE loss to his friends, family and cinema in general. He was instrumental in helping to get Napoleon the release that it received.

Always sharing of information and passion.

I recall a typical moment when we were working toward the 1981 release at the Shrine in LA, and I passed his office. He called out for me to come in, saying "You should meet Jean-Luc."

And through is constant kindness, I did...

Tom is one of the few who can never be replaced.

Three in a week is about as bad as it gets. Hugh Hudson, Tom, and now Raquel Welch.

 

[Dave B Ferris]

I'm still taking that one in. Tom's passing is a HUGE loss to his friends, family and cinema in general. He was instrumental in helping to get Napoleon the release that it received.

Always sharing of information and passion.

I recall a typical moment when we were working toward the 1981 release at the Shrine in LA, and I passed his office. He called out for me to come in, saying "You should meet Jean-Luc."

And through is constant kindness, I did...

Tom is one of the few who can never be replaced.

Three in a week is about as bad as it gets. Hugh Hudson, Tom, and now Raquel Welch.

At least it was a life well-led. The obit mentions his "then-girlfriend" Alice Waters - and he conceived of the name of her restaurant, as an homage to Marcel Pagnol.

 

[bujaki]

I'm still taking that one in. Tom's passing is a HUGE loss to his friends, family and cinema in general. He was instrumental in helping to get Napoleon the release that it received.

Always sharing of information and passion.

I recall a typical moment when we were working toward the 1981 release at the Shrine in LA, and I passed his office. He called out for me to come in, saying "You should meet Jean-Luc."

And through is constant kindness, I did...

Tom is one of the few who can never be replaced.

Three in a week is about as bad as it gets. Hugh Hudson, Tom, and now Raquel Welch.

Add to the list the loss of the great Carlos Saura, age 91, whose last work premiered one week before his passing last Friday.

 

[Charles Smith]

A terrible week indeed.

 

[jayembee]

Add to the list the loss of the great Carlos Saura, age 91, whose last work premiered one week before his passing last Friday.