International Napoléon (1927) finally arriving on BFI Blu-ray and DVD (1 Viewer)

[Peter Apruzzese]

No.

It should not be a blind purchase.

The only proper way to see Napoleon one's first time is on a huge screen with orchestra.

Anything else is akin to viewing a tiny black & white Xerox of an illuminated manuscript.

RAH

I'm not a praying man, but I am praying the new restoration plays with a live orchestra in the New York City area - preferably at the Music Hall or another place that can handle the 3-screen finale properly.

 

[PMF]

Update... I opened the set and the booklet has about 8 pages bound in upside down. I tried contacting Amazon for a replacement, but they said they don't have any option to exchange on this... only return for refund. Beat up case, book with printing errors... I guess I'm stuck with it.

No consumer should ever be told that they have to pay for the errors made by the manufacturer...EVER.
This is where we, the consumer, dictate the rule - and yes - even to Amazon.
On the other hand, I wouldn't want to see these impresive sales of "Napoleon" slowing down, either. Hopefully, in this instance, a booklet replacement program can be offered through the original manufacturers, not unlike what WAC did with "Victor/Victoria" and their disc replacement program.

 

[PMF]

No.

It should not be a blind purchase.

The only proper way to see Napoleon one's first time is on a huge screen with orchestra.

Anything else is akin to viewing a tiny black & white Xerox of an illuminated manuscript.

RAH

Any word to whether such an offering/event will come to the states?
"Napoleon" included...but ALL films of this stature should mandatorily be experienced on the huge screen when its the first time; that is, whenever possible.

 

[PMF]

I'm not a praying man, but I am praying the new restoration plays with a live orchestra in the New York City area - preferably at the Music Hall or another place that can handle the 3-screen finale properly.

Financially regretful that I couldn't attend the London event; but rest assured, I would NOT miss it in NYC.

 

[Dick]

Well, with Digital files being used in most theaters now, it should pop up more locally (for most of us) than in West Coastal cities and MOMA. Theoretically, any theater could book it, right?

But, re: Mr. Harris' response to Mr. Crawford: yes, ideally seeing the film in a huge theater and featuring a live orchestra would be just fine. But, sir, where do you recommend we go to see it in this form if we're not near California or New York when this film is released stateside? You have such access. Most of us haven't. Therefore, I would dare to disagree with you and say yes, this is a blind purchase. It is a stellar video presentation.

 

[Robert Harris]

Well, with Digital files being used in most theaters now, it should pop up more locally (for most of us) than in West Coastal cities and MOMA. Theoretically, any theater could book it, right?

But, re: Mr. Harris' response to Mr. Crawford: yes, ideally seeing the film in a huge theater and featuring a live orchestra would be just fine. But, sir, where do you recommend we go to see it in this form if we're not near California or New York when this film is released stateside? You have such access. Most of us haven't. Therefore, I would dare to disagree with you and say yes, this is a blind purchase. It is a stellar video presentation.

Take a look at the original domestic release in 1981.

Began at RCMH in NY, followed by the Ohio in Columbia, along with Chicago, Boston, Providence, San Antonio, LA, DC, New Orleans, Syracuse, Atlanta, Kansas City, San Francisco, Miami, Oakland, and then performances in Canada, Japan, Germany, Italy, Australia, Mexico, Brazil, Cuba...

Stay tuned!

Oh, and if it's of any interest, a 4k test scan from the original camera negative...

 

[David_B_K]

We had it in Houston at the (now demolished) Music Hall in 1982.

 

[RichMurphy]

Seeing the film in the 1980s at the Kennedy Center Opera House was a memorable event, indeed. I remember the audience applauding at the beginning of the triptych sequence, and then gasping as a horse crossed the foreground of the screen. I made me realize what the audiences of the '50s must have felt seeing Cinerama for the first time.

The only comparable moviegoing thrill I can think of was seeing a demo of Douglas Trumball's Showscan system in Fairfax, Virginia, when a character supposedly in the work area behind the screen pressed his face against the screen, breaking the plane and coming toward the audience, without the aid of 3D glasses.

 

[Stephen_J_H]

Take a look at the original domestic release in 1981.

Began at RCMH in NY, followed by the Ohio in Columbia, along with Chicago, Boston, Providence, San Antonio, LA, DC, New Orleans, Syracuse, Atlanta, Kansas City, San Francisco, Miami, Oakland, and then performances in Canada, Japan, Germany, Italy, Australia, Mexico, Brazil, Cuba...

Stay tuned!

Oh, and if it's of any interest, a 4k test scan from the original camera negative...

View attachment 35385

Do the rounded sprocket holes barely visible on the left tell us anything about the film stock and cameras used, or was this a standard shape for the period?

 

[Robert Harris]

Do the rounded sprocket holes barely visible on the left tell us anything about the film stock and cameras used, or was this a standard shape for the period?

For negative and duplicating stock.

 

[PODER]

While I understand Robert Harris' feeling about seeing NAPOLEON for the first time on a huge screen with orchestra,
this probably isn't going to happen at one's local Cineplex. Will watching it on a 50" screen be comparable? Of course not, but one goes with what's available. (As an aside, I did see it for the first time at Radio City, with the Coppola score. I still get
chills remembering the end of the evening. The audience was on it's feet screaming when a man came out holding a phone ... one with a L-O-N-G cord ... and a microphone. Quieting the cheers, he announced that Abel Gance was on the other end
of the line. At which point the cheers and applause became beyond deafening, and went on for what seemed like a good
half hour. I'm pretty sure that won't happen with a home viewing, but after waiting all these years for the Carl Davis scored version I fully expect to be giving it my own ovation. Oh, and my copy arrived with the slipcase bent, as it appears most are.
So what? I'm just going to fold a towel around it and iron out the creases, as I've done with previous slipcases. The phrase "Big whoop" does come to mind.)

 

[Dick]

Take a look at the original domestic release in 1981.

Began at RCMH in NY, followed by the Ohio in Columbia, along with Chicago, Boston, Providence, San Antonio, LA, DC, New Orleans, Syracuse, Atlanta, Kansas City, San Francisco, Miami, Oakland, and then performances in Canada, Japan, Germany, Italy, Australia, Mexico, Brazil, Cuba...

Stay tuned!

Oh, and if it's of any interest, a 4k test scan from the original camera negative...

Well, if a similar path is followed for the restoration release in the U.S., that would be helpful. Portland or Saco, Maine are probably the most likely to bother booking it in my state.

 

[PMF]

[...] As an aside, I did see it for the first time at Radio City, with the Coppola score. I still get chills remembering the end of the evening. The audience was on it's feet screaming when a man came out holding a phone ... one with a L-O-N-G cord ... and a microphone. Quietly the cheers, he announced that Abel Gance was on the other end
of the line.[...]

Are you saying that Abel Gance's directorial efforts on "Napoleon" were called in?
P.S. Great story. I, too, saw it at RCMH; but, apparently, you went on the better night.

 

[PODER]

Are you saying that Abel Gance's directorial efforts on "Napoleon" were called in?
P.S. Great story. I, too, saw it at RCMH; but, apparently, you went on the better night.

The man with the phone and the mike said that, while M. Gance had been unable to attend the event, he was now on
the phone in Paris listening to the reaction. That was when the roof blew off the RCMH. That was probably the high point
of seven decades of film going. Having the chance to sit and talk at length with Lillian Gish during my years as a Broadway
Stage Manager was a close second.

 

[bigshot]

I had a similar experience when I attended a screening of Phantom of the Opera and before it started an MC announced Mary Philbin was in the audience. A spotlight hit her in a box seat and the crowd went nuts. She was so startled by the reaction she started to swoon and the people with her had to catch her.

 

[owen35]

Take a look at the original domestic release in 1981.

Began at RCMH in NY, followed by the Ohio in Columbia, along with Chicago, Boston, Providence, San Antonio, LA, DC, New Orleans, Syracuse, Atlanta, Kansas City, San Francisco, Miami, Oakland, and then performances in Canada, Japan, Germany, Italy, Australia, Mexico, Brazil, Cuba...

Stay tuned!

I saw the non-orchestra version at the Cineramadome in LA twice. While nothing can compare to seeing a live orchestra accompany the film, it still doesn't disappoint in a traditional screening. When you see the image open up across the full width of the screen after seeing the square image for several hours, it still brings chills.

 

[Patrick McCart]

If Napoleon visits Atlanta, I hope it's at the Fox Theatre. It's a venue worthy of Napoleon and it's a film worthy of the Fox.

Plus, they have the summer film festival that Coca-Cola sponsors where they run classics. I went there to see Citizen Kane in 35mm and it was a packed house. While they're mostly a live performance house, they go out of their way to make film presentations high quality.

 

[bujaki]

I too was at the "phone" screening of Napoleon. That was the greatest high I have ever experienced in a theater. Seconded only by the Oakland screening of Napoleon. Nothing has ever equaled these two screenings with a live orchestra and the curtains parting to reveal the triptych and the audience cheering and applauding and I crying my eyes out. Nothing ever will. (The 9-hour version of Greed, perhaps?)

 

[Robert Harris]

If Napoleon visits Atlanta, I hope it's at the Fox Theatre. It's a venue worthy of Napoleon and it's a film worthy of the Fox.

Plus, they have the summer film festival that Coca-Cola sponsors where they run classics. I went there to see Citizen Kane in 35mm and it was a packed house. While they're mostly a live performance house, they go out of their way to make film presentations high quality.

Played the Fox in '81.

 

[Robert Harris]

I too was at the "phone" screening of Napoleon. That was the greatest high I have ever experienced in a theater. Seconded only by the Oakland screening of Napoleon. Nothing has ever equaled these two screenings with a live orchestra and the curtains parting to reveal the triptych and the audience cheering and applauding and I crying my eyes out. Nothing ever will. (The 9-hour version of Greed, perhaps?)

I'll try to post some audience images from RCMH. Those in attendance can try and find themselves