Film concert Napoléon vu par Abel Gance, 2001 Le Giornate del Cinema Muto, Teatro Nuovo Giovanni da Udine, day trip by steam train, Kevin Brownlow restoration, conductor Carl Davis, Camerata Labacensis (Ljubljana)

Napoléon vu par Abel Gance (FR 1927). Albert Dieudonné (Napoléon Bonaparte). Gina Manès (Joséphine de Beauharnais). The final Polyvision sequence. Credit: Photoplay Productions Ltd. From: Paul Cuff: "A monumental reckoning: how Abel Gance’s Napoleon was restored to full glory". Sight & Sound December 2016. Updated 3 August 2017. Please click on the image to expand it.

LE GIORNATE DEL CINEMA MUTO 20TH ANNIVERSARY CLOSING GALA

Teatro Nuovo Giovanni da Udine - 1230 posti

Transport: an old steam train Sacile - Pordenone - Udine. Departure: 12.25 pm. Return: 1.00 am.

Triple screen - triple projection Polyvision

The 2000 restoration (the third by Kevin Brownlow)

NAPOLÉON VU PAR ABEL GANCE

NAPOLEON

NAPOLEONE

Country France

Release Date 1927

Production Co. Consortium Westi/(Ciné-France-Films) / Films Wengeroff / Pathé Consortium / Films Abel Gance, 1925, Societé Générale de Film (1926)

Director Gance, Abel

35 mm 18 / 20 fps

24745 ft 333' (5 h 33 min)

Archive Source BFI Collections (National Film and Television Archive)

   

Speed is 20 fps except first 2 reels, episode 1, Brienne, which is 18 fps.

tinted and toned

English intertitles.

E-subtitles in Italian

Cast

Albert Dieudonné (Napoléon Bonaparte)

Vladimir Roudenko (Napoléon Bonaparte da bambino / as a boy)

Nicolas Koline (Tristan Fleuri)

Petit Roblin (Picot de Peccaduc)

Petit Vidal (Phélippeaux)

Robert Vidalin (Camille Desmoulins)

Francine Mussey (Lucille Desmoulins)

Harry Krimer (Rouget de Lisle)

Alexandre Koubitsky (Danton)

Antonin Artaud (Marat)

Edmond Van Daële (Maximillian Robespierre)

Maryse Damia (La Marseillaise)

Gina Manès (Joséphine de Beauharnais)

Max Maxudian (Barras)

Andrée Standard (Thérèse Cabarrus [Mme. Tallien])

Suzy Vernon (Mme. Récamier)

Carrie Carvalho (Mademoiselle Lenormond)

Louis Sance (Louis XVI)

Suzanne Bianchetti (Marie Antoinette)

Yvette Dieudonné (Elisa Bonaparte)

Eugénie Buffet (Lætitia Bonaparte)

Georges Lampin (Joseph Bonaparte)

Sylvio Cavicchia (Lucien Bonaparte)

Henri Baudin (Santo-Ricci)

Acho Chakatouny (Pozzo di Borgo)

Maurice Schutz (Pascale Paoli)

Marguerite Gance (Charlotte Corday)

Annabella (Violine Fleuri)

Serge Freddy-Karll (Marcellin Fleuri)

Léon Courtois (Général Carteaux)

Philippe Hériat (Salicetti)

Adrien Caillard (Thomas Gasparin)

Alexandre Bernard (Général Dugommier)

Gilbert Dacheux (Général du Teil)

Jean Henry (Sergent Junot)

Pierre Danis (Muiron)

Jack Rye (Général O'Hara)

Henry Krauss (Moustache)

Pierre De Canolle (Capitaine August Marmont)

W. Percy Day (Admiral Hood)

Abel Gance (Louis Saint-Just)

François Viguier (Couthon)

Janine Pen (Hortense de Beauharnais)

Georges Hénin (Eugène de Beauharnais)

Pierre Batcheff (Général Lazare Hoche)

G. Cahuzac (Vicomte de Beauharnais)

Philippe Rolla (Général Masséna)

Jean d'Yd (La Bussière)

Jean Gaudray (Jean Lambert Tallien)

Alexandre Mathillon (Général Schérer)

Mme. Blanche Baume (domestica di Marat /Marat's servant)

ballerine del /dancers from the Casino de Paris, Apollo, Moulin Rouge, Folies-Bergère (ballerine/dancing girls)

 

Other Credits

Krauss, Henry (asst. dir.)

Tourjansky, Vladimir (asst. dir.)

Andréani, Henri (asst. dir.)

Volkoff, Alexandre (asst. dir.)

Nalpas, Marius (asst. dir.)

Danis, Pierre (asst. dir.)

Kruger, Jules (dir. ph.)

Mundviller, Joseph-Louis (chief cam.)

Burel, Léonce-Henry (addtl. ph.)

Beaugé, Marguerite (ed. assoc.)

Pinson, Henriette (ed. (montaggio negativo /negative))

Benois, Alexandre (art dir.)

Schildknecht, Pierre (art dir.)

Lochakoff, Alexandre (art dir.)

Jacouty, Georges (art dir.)

Meinhardt, Vladimir (art dir.)

Feldman, Michel (tec. spec.)

Feldman, Simon (tec. spec.)

Dalotel, Maurice (tec. spec.)

Day, W. Percy (tec. spec.)

Scholl, Edward (tec. spec.)

Wilcke, Nicolas (spec. eff.)

Minine, Paul (spec. eff.)

de Chomon, Segundo (spec. eff.)

Charmy (cost.)

Sauvageau, Alphonse (cost.)

Mme Augris (cost.)

Mme Neminsky (cost.)

Lanvin, Jeanne (Mme. Manès' cost.)

Muelle & Souplet (fornitore costumi/cost. supplier)

Galvin (calzature/footwear)

Pontet-Vivant (parrucche/wigs)

Kwanine, Vladimir (make-up)

de Fast, Boris (make-up)

Ruggieri (esplosivi/explosives)

Lemirt (armi/weapons)

Mitry, Jean (stagiaires/trainee assistants)

Arroy, Jean (stagiaires/trainee assistants)

Purnal, Sacher (stagiaires/trainee assistants)

Cendrars, Blaise (stagiaires/trainee assistants)

 

Other Information

orig. dist.: Gaumont-Metro-Goldwyn; première: 7.4.1927, Théâtre National de l'Opéra, Paris

Music composed, arranged, and conducted by Carl Davis; performed by Camerata Labacensis, Ljubljana. Additional orchestrations by Colin Matthews, David Matthews, Christopher Palmer, Nic Raine.

 

Program Notes: Kevin Brownlow and Napoleon

" I first encountered the film when I was a schoolboy. I saw two reels on my 9.5 mm home movie projector. I was stunned by the cinematic flair - I had never seen anything comparable - and I set out to find more of it, and more about it. I was puzzled by the antipathy the film aroused among critics and historians who remembered the original release. I expected with each rediscovered sequence that they would be proved right, and the quality would take a plunge. But the more I added to the film, the better it became. And eventually I discovered that most of those writers had seen one of the butchered versions. "

" When I became a feature-film editor, I began to earn enough to do a proper restoration. I was given facilities by the National Film Archive (who eventually took the project over). Whenever the work-in-progress was screened at the National Film Theatre, the place was always packed, the reaction always very strong. People stayed up allnight to watch it at the Telluride Film Festival, Colorado, in 1979, even though it was projected outdoors in freezing temperatures. Watching from his hotel window was Abel Gance himself, then in his ninetieth year. "

" The climax came in 1980, when David Gill and I staged the first performance with live orchestra for Thames Television and the British Film Institute at the Empire Theatre, Leicester Square, London. Carl Davis created the massive score in three months and he conducted the Wren Orchestra. We wereall intensely nervous before the show. What right had we to expect the public to sit still for an old silent film lasting five hours? Of course, they did not sit still. They rose to their feet and gave it a standing ovation. It was the most moving occasion I have ever attended in the cinema. (Extract from Kevin Brownlow's introduction to Napoléon -Abel Gance, edited by Bambi Ballard, Faber and Faber, 1990.) "

" This is the third full-scale restoration of Napoleon. Based on the 1980 version, an extended version was produced by Bambi Ballard using all the material held by the Cinémathèque française. This extra material was brought over to the National Film and Television Archive and copied by João Oliveira. Thanks to the financial support of Erik Anker-Petersen,a new restoration was begun in l999. This latest restoration was first shown at the Royal Festival Hall as the gala opening of the 56th Annual Congress of the International Federation of Film Archives (FIAF) in London in June 2000. "

" The material imported from France has been copied and cut into the cutting copy. It makes a difference - the additional footage is of high quality and with the additional titles makes the narrative easier to follow, and more interesting. "

" The titles for the old restoration were made very cheaply, and had no connection with the bold l8th-century typefaces used in the original. We have reshot (and retranslated) all the titles using the original typefaces - Roman for descriptive and italic for dialogue - and this makes a considerable difference to the look of the film. We have found the original main titles and most of the credits, and can reproduce these exactly. We are sticking to the French title Napoléon vu par Abel Gance, as it is difficult to translate. "

" The first episode - Napoleon's schooldays in Brienne - was photographed by a different cameraman from the rest of the film, and several people complained that we were running it slightly too fast. So we are now projecting Brienne at 18 fps, and the music has been adjusted accordingly. (The remainder goes at 20 fps.) "

" Where we have found better quality material for the identical scene, we have used it - but in some cases we have found scenes of superior photographic quality, but the performance is inferior. These have not been used. For instance, in the Toulon section, Napoleon is seen dismounting from his horse twice - a bad piece of editing by an assistant trying to make up yet another negative. We have remained with the better scene - in which he dismounts once, very professionally - even though it is marred by having the soundtrack area blanked out. In the wedding, the new material is of much better quality, and we have used it for the first half - but Dieudonné's performance is not as good in the latter half of the sequence, and we have returned to the original, despite the signs of decomposition. "

" There are some substitutions of complete sequences - such as the Marseillaise - because the reels discovered are clearly definitive. These reels also indicated where tinting should start and end, and provided samples so we can reproduce these exactly. "

" Some of the new material simply did not fit. How can you use the Corsican gendarmerie chasing Napoleon uphill at the opening of the chase across Corsica sequence, when the opening we have shows the horsemen in completely different terrain? In the Double Storm, it is odd how the new negative matches the old one shot for shot, yet with each one differing by a few frames. "

" The first time I did the restoration, I felt lucky to find anything extra. This time I often had three versions of the same scene, but played or directed in a slightly different way. Sometimes, the decision was made for me. Mme. Tallien arrives at the Baldes Victimes and simply stands there, looking elegant. In another - probably reshot - version, Mme. Tallien arrives and is showered with rose petals. " 

" Sometimes the playing was better, but the camera angle slightly inferior, or vice versa. I therefore had enormous difficulty in deciding which to use. The most taxing of these sequences was a brand-new "Death of Marat" sequence - twice as long as the old one. I decided to go with this new one, but when we projected it we realised there was something seriously wrong with the makeup on Marat, which obviously had caused Gance to cut it down himself. In one or two other places, Gance had made cuts rather than additions, and I generally followed him. Sometimes it was necessary to use an extra scene of no particular merit in order to explain the excellent scene that follows - as with Josephine playing the harpsichord, which is followed by a delightful scene of her daughter talking to her pet parrot about her mother and Napoleon. " - KB

AA: CLOSING GALA

The most ambitious event in the Festival's history was a fitting way to celebrate its 20 glorious years.

Napoléon vu par Abel Gance (FR 1927). Restored by Kevin Brownlow / Photoplay, music compiled, composed and directed by Carl Davis. The latest restored print was shown for the first time as a special all day spectacle in Teatro Nuovo Giovanni da Udine. What was new in it? Better pictorial quality, and especially better tinting. And real polyvision via three projectors. A steam train took the audience from Sacile to Udine and back. Departure: at 12.25 pm. Return: at 1.00 am.

This was the best experience I have had of the film. The fine-editing of the film brings new charms to it. The extremely difficult tinting is uniquely successful (tinting nowadays almost always fails, which is why I prefer straight black-and-white to most modern tinting). I belong to the defenders of Carl Davis: lifting bodily large chunks from Beethoven is absolutely justified in this film. Beethoven is evidently the Napoleon composer, and why settle for anything less? Most importantly, all the efforts in restoration and music serves to bring Abel Gance's vision alive for modern audiences. It's still one of the most breathtaking films of all times, a magnificent combination of epic and intimacy, of terror and comedy. It's almost impossible to make a successful film (or novel, or play) of a great modern historical figure as the protagonist. Abel Gance succeeded in showing the bravado, the vision, the weakness and the vulnerability of Napoleon. ****

LE GIORNATE DEL CINEMA MUTO, SACILE, 13-20 OCTOBER 2001

Le Giornate del Cinema Muto presented in 2001 a formidable programme with difficult and ambitious retrospectives.

The Festival took place for the third time in Sacile, a town north of Venice full of beauty and short of hotel rooms. Most visitors spent their nights in the original festival site Pordenone. The festival office's successful efforts with transport and schedules made shuttling easier than during the last two years, but it was still tough for any ambitious visitor without accommodation in Sacile. Many of us suffered from fatigue. I needed a week to recover.

The programmes of 1999 and 2000 were the most abundant ever, with a generous share of audience-pleasing and easily digested films to keep an upbeat mood. 2001, too, had its share of immediately gratifying highlights, but as a whole it was much more hard work: more difficult and arduous. All the major retrospectives this year – Japan, Black America, Griffith Part Five – had to a large extent a fragmentary character and actually required extensive study of literature to really understand what was going on. The festival organizers and the curators of the retrospectives had done a tremendous work of reconstruction, but in addition, each viewer had to do his/her own mental reconstruction for him/herself.

To sum up: it was hard but awesome.

OPENING EVENT

Tusalava (GB 1929). Celebrating the Len Lye centenary, his first experimental film was shown with live music by Neil Brand and John Sweetey. ****

Finis Terrae (FR 1929), D: Jean Epstein, featuring: inhabitants of the Ile d'Ouessant. Musical accompaniment by Breton artists Kristen Noguès (Celtic harp), Jacques Pellen (guitars), Patrick Molard (Uillean pipe, Kozh bagpipe, Scottish bagpipes), Jacky Molard (violin). Restored in 2001 by la Cinémathèque française. The first film of Epstein's Breton cycle, facing the sublime of the elements. The unique musical accompaniment would deserve to be made available on a permanent basis. ****

THE GRIFFITH PROJECT V – FILMS PRODUCED IN 1911

The first complete D.W. Griffith retrospective ever presented a year which is surprisingly "a terra incognita" (Paolo Cherchi Usai) in the maestro's career. DWG had quickly developed to a master in 1909-1910. In 1911 he continued to produce brilliant short films for Biograph in the states of California and New York. He honed his cross-cutting skill in thrillers like The Lonedale Operator, developed magnificently his sense of landscape and action in Civil War films (The Battle) and Westerns (Fighting Blood, The Last Drop of Water), and had a keen eye on contemporary New York street life (Bobby the Coward). He replaced the lost "old" Biograph stock company of actors with newcomers such as Blanche Sweet and Robert Harron. He continued to excel directing children in films like The Sunbeam. The Biblical paradigm reigns in many scripts; DWG's Biblical ethos was at its most moving in films like A String of Pearls.

(Because of train trouble I missed a particularly interesting show with A Country Cupid, The Ruling Passion, The Rose of Kentucky, and Swords and Hearts.)

Although almost all Griffith's films survive and even many original negatives exist, of the 73 DWG films of 1911 only 52 were shown. 3 are lost, and of 18 no viewing print is available. Print quality has been a problem of the project from the start, but it is surprising that so many 1911 titles were missing because there is no viewing copy at all though masters exist. Most prints shown were horribly disfigured 16mm; a few were too dark or light, bordering on the invisible. The films originally famous for their tinting and toning were almost invariably seen in black and white prints. As the original intertitles have been lost, at best they have been reconstructed, in many cases they were missing. Some films were seen in unassembled workprints, which were interesting to study but whose plot and montage and flow of movement were impossible to follow. Of the few beautiful 35mm prints shown we could guess what we were missing from the others.

To put it in another way: we are looking forward to see them, too, as they should be seen. Which really means: we are looking forward to actually see them. Good prints should be made available of all DWG films of which good masters exist! Let's hope it takes place during our lifetime.

An excellent companion to the retrospective is The Griffith Project series of books, edited by Paolo Cherchi Usai, with a top team of writers. It is becoming a model for this kind of work.

* marks my favorites, + other interesting ones.

Fisher Folks 16mm, unassembled, intertitles missing (DWG 320)

His Daughter (DWG 321)

Conscience 16mm (DWG 323)

Was He a Coward? (DWG 324)

Teaching Dad to Like Her 16mm (DWG 325)

The Lonedale Operator (DWG 326) *

The Spanish Gypsy 16mm (DWG 327)

The Broken Cross 16mm, intertitles missing (DWG 328)

The Chief's Daughter 16mm, unassembled workprint (DWG 329)

A Knight of the Road 16mm (DWG 330)

His Mother's Scarf 16mm (DWG 332)

The Two Sides 16mm, intertitles missing (DWG 334)

In the Days of '49 16mm (DWG 335)

Enoch Arden Part 1 16mm, intertitles missing (DWG 336)

Enoch Arden Part 2 16mm, intertitles missing (DWG 337)

Enoch Arden (1915), D: Christy Cabanne, Sup: DWG, featuring Lillian Gish, second reel. A fascinating occasion to comparison.

The New Dress 16mm (DWG 338)

A Romany Tragedy (DWG 340)

The Crooked Road 16mm (DWG 341)

The Primal Call 16mm (DWG 343)

The Indian Brothers 16mm (DWG 345)

The Blind Princess and the Poet (DWG 348)

Fighting Blood GEH 2001 (DWG 349) *

The Last Drop of Water (DWG 350) *

Bobby, the Coward (DWG 351) *

The Squaw's Love (DWG 360)

The Eternal Mother 16mm (DWG 362) *

The Making of a Man 16mm (DWG 365)

Her Awakening 16mm (DWG 366)

The Adventures of Billy 16mm (DWG 368)

The Long Road 16mm, intertitles missing (DWG 369)

The Battle (DWG 370) *

Love in the Hills 16mm (DWG 371)

Through Darkened Vales 16mm, intertitles missing (DWG 373)

A Woman Scorned (DWG 374)

The Miser's Heart intertitles missing (DWG 375)

The Failure intertitles missing (DWG 376)

As In a Looking Glass unassembled print, intertitles missing (DWG 378) +

A Terrible Discovery 16mm, unassembled reversal print, intertitles missing (DWG 380)

The Baby and the Stork 16mm, intertitles missing (DWG 382) +

The Voice of the Child (DWG 383)

For His Son 16mm (DWG 384) +

The Old Bookkeeper 16mm, intertitles missing (DWG 385)

Billy's Stratagem Dutch intertitles (DWG 387) +

A Blot in the 'Scutcheon 16mm (DWG 388)

The Transformation of Mike 16mm, shown both in an unassembled print with missing intertitles and an assembled print with reconstructed intertitles. An impressive demonstration. (DWG 389) +

The Root of Evil 16mm (DWG 390) +

The Sunbeam 16mm (DWG 391) *

A String of Pearls 16mm, intertitles missing (DWG 392) *

JAPAN

The most ambitious attempt ever to screen Japanese silent cinema was showcased in Sacile 2001, curated by Hiroshi Komatsu and Tomonori Saiki. Only 1–5% of Japanese silent cinema survives. The retrospective was to an exceptionally high degree a jigsaw puzzle. Many films were extremely fragmentary, and print quality was often awful. However, we are looking forward to a continuation of this retrospective, as many important films were not shown. I saw less than a half of the retrospective. Special thanks to many fine translations in this retrospective.

SPECIAL EVENT

Kurutta ippeiji (A Page of Madness, 1926), D: Teinosuke Kinugasa. This legendary film has lost none of its power to shock. Its audacious montage and furious dance patterns feel contemporary in the techno age. Teho Teardo's live electronic music accompaniment was bold and successful. ****

BENSHI

Orochi (The Monster, 1925), D: Bunaro Futagawa. 16mm, benshi commentary: Miss Midori Sawato, music: Coloured Monotone. One of the oldest jidai geki to have survived complete and in good condition. Furious action among the samurai and the yakuza. ***

BETWEEN FICTION AND NON-FICTION

Une rue à Tokyo I (FR/JP 1898) Lumière, PH: Tsunekichi Shibata

Une rue à Tokyo II (FR/JP 1898) Lumière, PH: Tsunekichi Shibata

Une avenue à Tokyo (FR/JP 1898) Lumière, PH: Tsunekichi Shibata

Une place publique à Tokyo (FR/JP 1898) Lumière, PH: Tsunekichi Shibata

Station de chemin de fer de Tokyo (FR/JP 1898) Lumière, PH: Tsunekichi Shibata

Five precious views of city life. ****

Momijigari (Maple Viewing, 1899) PH: Tsunekichi Shibata, featuring the famous Kabuki actors Danjuro IX and Kikugoro V. 16mm, no translation. Of great value as a record of the Kabuki theatre.

Taikoki judanme (The Tenth Act of Taikoki, 1908). Kabuki style in a fiction film.

Nippon nankyoku tanken (Japanese Expedition to Antarctica, 1912)

Sendaihagi (JP 1916) fragment of a part of a Kabuki play.

Sesshonomiya denka katsudo shashin tenrankai gotairan jikkyo (The Prince Regent's Visit to the Motion Picture Exhibition, 1921)

Shigeki nanko ketsubetsu (The Historical Drama, the Farewell Scenes of Kusunoki Masahige and His Son, 1921)

The Prince Regent, the future Emperor Hirohito, visited a motion picture exhibition. Both his visit and a Kabuki performance for him were filmed.

JIDAI GEKI (HISTORICAL DRAMA)

In the film production in the Kansai Region after the great Kanto earthquake of 1923, the small independents contributed especially to the genre of jidai geki - films set in the feudal period, before the Meiji Restoration of 1868.

Keyamura rokusuke (Rokusuke of Keya Village, 1926), D: Tamizo Ishida. Too fast at 24 fps. A furious swordplay film.

Tekketsudan (Iron Blood Gang, 1928), D: Ryota Kawanami. Very physical action film, beautifully toned, excellent wrestling scenes.

Roningai daiichiwa (Ronin Street I, 1928), D: Masahiro Makino. Fragmentary, too fast at 24 fps, no translation.

Roningai dainiwa (Ronin Street II, 1929), D: Masahiro Makino. Fine action scenes in parts I-II of the samurai story. Part III has not survived.

Kokushi muso (Peerless Patriot, 1932), D: Mansaku Itami. Fragments restored from an abridged 9,5mm Pathé-Baby version, from an evidently stylish film, with fine humoristic scenes and comic fights.

GENDAI GEKI (MODERN DRAMA)

After the 1923 earthquake the Shinpa play became anachronistic, at least in the motion picture. The tragic destiny of young people no longer suited the mood of contemporary life. Now the audience demanded more plausible content in motion picture drama. The mood and taste of the times transformed Shinpa into gendai geki (modern drama). (HK)

Nasake no hikari (Lights of Sympathy, 1926), D: Henry Kotani. Beautiful print of a story of social education: poor boy helps sick mother while father is in jail. Fine cinematography influenced Japanese film production.

Nippon (DE 1932) – German compilation by Carl Koch incorporating material from: Tempei jidai-kaito Samimaro (JP 1928, The Time of the Tempei Shamimaro, D: Eichi Koishi), Kagaribi (JP 1928, Torches, D: Tetsuroku Hoshi), Daitokai rodoshahen (JP 1930, The Great Metropolis: Chapter on Labour, D: Kiyohiko Ushihara). Beautiful sonorized 16mm print from Cinémathèque française of a compilation combining jidai geki and gendai geki, bringing us from historical Japan to the present. Spectacular scenes from three lost films.

THE MASTERS

Furusato no uta (The Song of Home, 1925), D: Kenji Mizoguchi. The earliest surviving film by KM in a beautiful print. The story of a young boy who rejects the frivolous company of the city people and chooses to become a farmer, instead. KM's first socially conscious "message film" shows a direct but naively digested influence of Tolstoy. The strength: the joy of light. Music would be necessary to this silent film, which is apparently inspired by a song. **

Chokon (1926), D: Daisuke Ito. Only the last reel of the eight-reel feature survives, but it is the brilliant climactic swordfight with virtuoso montage, subjective camera, and breathtaking action as the protagonist enters his final battle.

Chuji tabi nikki (A Diary of Chuji's Travels, 1927), II: Shinshu kessho hen (Bloody Laughter in Shinshu), III: Goyo hen (In the Name of the Law), D: Daisuke Ito. Of the original 6540 meters of the legendary masterpiece, 1800 meters survive. Beautiful calligraphy of the intertitles. The shocking trajectory of the protagonist from the invincible samurai to the paralysed body on the stretcher.

Jujiro (Crossroads / Im Schatten des Yoshiwara, 1928), D: Teinosuke Kinugasa. English version. For decades virtually the only Japanese silent film known in the West. Visual brio and grotesque stylization in an exposé of the empty seductions of Yoshiwara. ***

Akeyuku sora (The Dawning Sky, 1929), D: Torajiro Saito. A bad 16mm print. A woman's film, a melancholy modern story of a woman who has to leave her baby with her husband's parents. Emotionally powerful. ***

Ishikawa Goemon no hoji (A Buddhist Mass for Goemon Iskikawa, 1930), D: Torajiro Saito. A blow-up from 9,5mm Pathé Baby. A ghost comedy.

Kuma no deru kaikonchi (The Reclaimed Land Where Bears Live, 1932), D: Shigeyoshi Suzuki. A not-brilliant print of a film with apparent epic grandeur. Using the sweeping landscapes of Hokkaido the saga depicts the revenge of two generations of farmers. ***

OSCAR MICHEAUX & HIS CIRCLE: AFRICAN-AMERICAN FILMMAKING AND RACE CINEMA OF THE SILENT ERA

Pearl Bowser, Jane M. Gaines and Charles Musser have compiled an ambitious seven-part touring show covering the little known early decades of African-American cinema. Most of the early African-American films have been lost, and the rest survives often in disfigured prints. The book to the tour by Bowser, Gaines, and Musser, Oscar Micheaux & His Circle, meets the highest standards, and is an inspiring basis for all future research. I saw only two samples. Within Our Gates and Black and Tan I had seen previously.

Midnight Ramble: Oscar Micheaux and the Story of Race Movies (1993, D: Pearl Bowser, Bestor Cam). Video projection. A fine introduction to early African-American cinema with lots of excerpts. ***

Body and Soul (1925, D: Oscar Micheaux). The young Paul Robeson is stunning in the starring double role: electrifying presence and great versatility as a heavy, as a preacher, and as a regular guy. We know his voice; here he impresses in a silent film. Charles Musser's essay in the book reveals the surprising background to the film and the reason why Robeson never mentioned this film (his best?). ***

EVENTI MUSICALI

Mitä on tekeillä sirkus Beelyssä? (Was ist los in Zirkus Beely?, DE 1926), D+starring: Harry Piel, based on two novels by Max Bauer. Harry Piel had an amazingly successful career as the "German Fairbanks", and this is one of his most extravagant adventure films. The ambitious musical accompaniment by the double bass virtuoso Nicola Perricone and his orchestra had the unfortunate side effect of putting the audience to sleep due to the heavy use of the double-bass. **?

Nykyajan Babylon (East Side, West Side, US 1927) D: Allan Dwan, starring George O'Brien. A great contemporary spectacle of metropolitan life, including a Titanic episode. Great-looking and a bit superficial. Wonderful music by Donald Sosin and his orchestra. Brilliant MoMA restoration. **

SAVING THE SILENTS

A Western Girl (US 1911), D: Gaston Méliès, starring Francis Ford. GEH restoration. OK Western is a love story in a mining camp.

West of Hot Dog (US 1924), UCLA restoration starring Stan Laurel as an "Eastern tenderfoot adrift in a rough-and-tumble Wild West town" (Charles Hopkins).

Hands Up (US 1918), D: James W. Horne, starring Ruth Roland, Louis Gasnier. Promotional special trailer for a lost serial.

Yhteiskunnan vihollinen (The Penalty, US 1920), D: Wallace Worsley, starring Lon Chaney. Brilliant GEH restoration 2001 from camera negative. The incredible melodrama of the revenge of the crippled king of the underworld of San Francisco. Full of weird observations. ***

CENTENARIES

Maldone (FR 1928), D: Jean Grémillon, DP: Georges Périnal, AD: André Barsacq. One of the great discoveries of the Festival was this Grémillon Centenary special, a picaresque story of a rambling man called Maldone. A masterpiece of the same class as Gardiens de phare. ****

MITCHELL AND KENYON

The British Film Institute's Peter Worden Collection of Mitchell and Kenyon Films (GB 1899-1913) consists of some 780 nitrate negatives. The ambitious preservation and restoration project is now starting to be showcased. Brilliant pictorial quality, but for a foreigner somewhat boring and repetitious subject matter.

(Mitchell and Kenyon 49: Fish's Waterfall Mill, Blackburn) 1900?

(Mitchell and Kenyon 6: Haslam's Ltd. Colne, 29.1.1900)

(Mitchell and Kenyon 28: Lumb and Sons, Huddersfield) 1900?

(Mitchell and Kenyon 24: Pilkington Glass Works, St. Helen's 3.10.1900)

(Mitchell and Kenyon 25: Pilkington Glass Works, St. Helen's 3.10.1900)

(Mitchell and Kenyon 26: Pilkington Glass Works, St. Helen's 3.10.1900)

(Mitchell and Kenyon 39: Ormerod's Mill, Great Moor Street, Bolton) 1900?

(Mitchell and Kenyon 43: Brooks & Doxey, 7/1901)

(Mitchell and Kenyon 35: Armstrong's Elswick Works, Newcastle-Upon-Tyne) 1900?

(Mitchell and Kenyon 109: Newcastle United Vs. Liverpool No. 1) 1900?

(Mitchell and Kenyon 110: Newcastle United Vs. Liverpool No. 2) 1900?

FUORI QUADRO

L'eruzione dell'Etna (IT 1909), PC: Ambrosio. Tinted and toned, Lobster Films

Tremblement de terre en Italie (? 1905), Lobster Films

VIDEO SHOWS

Chomón (ES 2001), D: M. Dolors Genovès. One of the best documentaries on silent cinema ever, a fascinating story of Segundo de Chomón, one of cinema's first masters of animation, cinematography, special effects, pyrotechnics, and fantasy. Covers film history from Pathé to Napoléon with lots of juicy excerpts. ****

CLOSING GALA

The most ambitious event in the Festival's history was a fitting way to celebrate its 20 glorious years.

Napoléon vu par Abel Gance (FR 1927). Restored by Kevin Brownlow / Photoplay, music compiled, composed and directed by Carl Davis. The latest restored print was shown for the first time as a special all day spectacle in Teatro Nuovo Giovanni da Udine. What was new in it? Better pictorial quality, and especially better tinting. And real polyvision via three projectors. A steam train took the audience from Sacile to Udine and back. Departure: at 12.25 pm. Return: at 1.00 am.

This was the best experience I have had of the film. The fine-editing of the film brings new charms to it. The extremely difficult tinting is uniquely successful (tinting nowadays almost always fails, which is why I prefer straight black-and-white to most modern tinting). I belong to the defenders of Carl Davis: lifting bodily large chunks from Beethoven is absolutely justified in this film. Beethoven is evidently the Napoleon composer, and why settle for anything less? Most importantly, all the efforts in restoration and music serves to bring Abel Gance's vision alive for modern audiences. It's still one of the most breathtaking films of all times, a magnificent combination of epic and intimacy, of terror and comedy. It's almost impossible to make a successful film (or novel, or play) of a great modern historical figure as the protagonist. Abel Gance succeeded in showing the bravado, the vision, the weakness and the vulnerability of Napoleon. ****