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Calvin wrote:Any Blu-Ray release would have to preserve the original speed while remaining progressive (which I believe could be achieved by repeating every 5th frame). I'm not sure how to get past the triptych conundrum, presumably letterboxing is the only way?

Wouldn't they just release it interlaced as they have other silent-speed films? I'm sure the triptych would be letterboxed at 4:1. On my 46" Panny plasma, that would result in a 10"x40" image, which doesn't seem unreasonable for 30 minutes.

Does Universal still retain video rights? If anyone could get Uni, Brownlow, and Coppola to all play nice together for a restored ultimate edition, it'd be Criterion.

i have the vhs of the Coppola verison. just before they get to the triptych part, the screen gets small and then the 2 side screens are put on the screen. lets hope a dvd release of both versions will be on dvd within the next few years.

i also read they found new footage of the film and are waiting for more to make the film longer. what footage was it and where find it.

This is a very long story, some of which may be buried further back in this thread. Basically, Kevin Brownlow has been finding 'new' / 'lost' footage on a semi-regular basis over the past thirty years, and using them to piece together more and more complete versions of the film. (I believe that even when the Coppola version was first issued, Brownlow already had a much more complete version prepared.)

The problem was that Coppola - until very recently - was blocking any release of the more recent restorations / reconstructions, so there were effectively several decades of academic and preservation work on this particular film that was all but inaccessible.

There is a much more complete version of the film ready and waiting for release, but it isn't definitive / 'complete', and like almost all restorations of a messy title like Napoleon, it's always going to be a work in progress.

I would be very curious to know what additions are in this even more complete version. The Violine backstory seemed very underdeveloped and seemed to have huge holes that I assumed were due to missing footage (seems logical to edit out the back story if you are trying to shorten the film). I also would like to see the missing scene (explained in an intertitle) of Napoleon boarding with Pozzo di Borgo and Salicetti, in which he fashions the boots out of cardboard which we later see destoyed by Josephine's carriage.

Jeff wrote:

Calvin wrote:Any Blu-Ray release would have to preserve the original speed while remaining progressive (which I believe could be achieved by repeating every 5th frame). I'm not sure how to get past the triptych conundrum, presumably letterboxing is the only way?

Wouldn't they just release it interlaced as they have other silent-speed films?

I hope not, with some of the rapid cutting I think Napoleon wouldn't suit interlacing and would be better presented in 1080p like MoC's Coeur Fidele.

Brownlow reckons the optimum projection speed is 20fps - which, annoyingly, isn't really conducive to creating a smooth 1080p transfer.

Are there any 1080i20 transfers? Is that even possible?

Calvin wrote:Are there any 1080i20 transfers? Is that even possible?

I believe that one of the transfers on Image's Phantom of the Opera disc is 1080i and 20fps. When Criterion did People On Sunday, they transferred it at 24fps (interlaced) then digitally slowed it down to 22fps. I don't know enough about that stuff to know what might be the optimal way to go about it.

There's another problem with the framerate: Since it was shot by a different cinematographer from the rest of the film, the opening sequence (Napoleon's childhood) is actually best projected in 18 fps. This is difficult to do just in a theatrical projection setting (those who were at the first screening on the 24th will remember that the choice was between heavy flicker and a filter making for a very dim screen), let alone on a disc with mixed framerates. It plays fairly well when simply done at 20 fps, and so it could just be made to conform with the rest of the film's standard, but it's still one further step away from an optimal viewing of Napoleon.

HerrSchreck wrote:Has there been any reliable information about this coming to NYC? Pretty obvious that this isnt going to be doing your typical indie/arthouse roadshow circuit. . . but it'd be almost unimaginable for it to go back overseas without getting a hi-profile exhibition at say the Directors Guild Theater (where I saw the US premiere of the last restoration of THE RED SHOES thanks to a precious invite), The Zeigfeld. . though I must say that watching those glorious three panel scenes would be a drag on the small screens at Film Forum or even thr Angelika. MoMA's main auditorium would be fabuloso!

When I spoke to Mr. Brownlow, he personally assured me that there is absolutely no plan or interest for further screenings in America. Don't count on this. (He did, however, mention that there is an interested party in Belgium).

I'm not very technical but I could either see seamless branching (where the opening was encoded in a different framerate) solve that problem. Either that or in the opening sequence, every third frame is repeated and then, for the rest of the film, every fifth frame.

Either way, it's a pretty gargantuan task for a company to undertake although one that I think we'd all agree is worth it.

WorstFella wrote:There's another problem with the framerate: Since it was shot by a different cinematographer from the rest of the film, the opening sequence (Napoleon's childhood) is actually best projected in 18 fps. This is difficult to do just in a theatrical projection setting (those who were at the first screening on the 24th will remember that the choice was between heavy flicker and a filter making for a very dim screen), let alone on a disc with mixed framerates.

That's fascinating. I did notice a heavy flicker, verging on an epilepsy trigger, during the snowball fight (heightened by the fact that the screen was very bright because of the snowy scene), and they attempted to dim the screen during the intertitles, although it was clumsily executed.

with all 4 showings over, any chance of any more showings in the US (mainly east coast) within the next year or so. also any chance of a dvd release of both versions. would love to see the 5 and 1/2 hour version (even if its only a dvd release).

WorstFella wrote: When I spoke to Mr. Brownlow, he personally assured me that there is absolutely no plan or interest for further screenings in America. Don't count on this. (He did, however, mention that there is an interested party in Belgium).

I find it a bit puzzling given the fact that when I went to see the film on day 3, the place was 100% full (you can imagine the toilet lines at the first and third (short) intermissions!). Hard to believe this was not a sufficient money maker. Started at 13.30, ending at 21.40. The three-screen setup was very well done: actual three screens, not a mere 3-image strip on a CinemaScope screen. It was a custom installation with the screens arranged in a concave shape with no borders between them. Very, very effective, an astonishing effect. I think Abel Gance would have been very pleased.

Last but not least, the orchestra got, deservedly, a HUGE applause.

sinemadelisikiz wrote:

gcgiles1dollarbin wrote:Film historian Kevin Brownlow speaks on the restoration of Abel Gance’s 1927 masterpiece, Napoleon, now showing at Oakland’s Paramount Theatre.

Sad to say this has already been sold out.

Why didn't the PFA move this talk to a larger auditorium is a mystery. (They do have large auditoriums at the Berkeley campus, unbelievably.) A film shows up once per 30 years and they schedule a meeting like this in a small projection room. Brilliant.

And seeing Napoleon advertised on BART this month was surreal, to say the least.

Hahaha! Among the typically 100% inane BART messages(*) this one indeed looked very strange.

(*) A topic deserving a PhD thesis in itself.

MichaelB wrote: The Double Storm is a case in point: Davis draws on two different Beethoven pieces (the bombastic 'Coriolan' overture and a set of comparatively obscure piano variations -

Excuse the serial postings. Interestingly, Davis strongly associates Saint-Just (played by Abel Gance) with Bach's passacaglia i c minor (BWV 582). No idea why, I thought it clashed with the epoch slightly. But hearing this organ piece performed by an orchestra was a real treat.

One note: Kevin Brownlow (or actually, Patrick Stanby) mentioned during Friday night's talk that they weren't adverse to a DVD, but that it would require a substantial sponsor.

JanPB wrote:I find it a bit puzzling given the fact that when I went to see the film on day 3, the place was 100% full (you can imagine the toilet lines at the first and third (short) intermissions!). Hard to believe this was not a sufficient money maker.

Apparently the entire event cost something like $700,000 to stage, once rights, equipment (the special screen, three synchronised projectors) and the substantial costs of the orchestra were taken into account. So even if all four screenings sold out, they probably only just broke even.

UPDATE: And possibly not even that. This article confirms the $700,000 figure, adds that it's more than the San Francisco Silent Film Festival's annual budget, and says that even with ticket prices ranging from $42 to $122, the Napoleon screenings are "likely to lose money."

MichaelB wrote:

JanPB wrote:I find it a bit puzzling given the fact that when I went to see the film on day 3, the place was 100% full (you can imagine the toilet lines at the first and third (short) intermissions!). Hard to believe this was not a sufficient money maker.

Apparently the entire event cost something like $700,000 to stage, once rights, equipment (the special screen, three synchronised projectors) and the substantial costs of the orchestra were taken into account. So even if all four screenings sold out, they probably only just broke even.

UPDATE: And possibly not even that. This article confirms the $700,000 figure, adds that it's more than the San Francisco Silent Film Festival's annual budget, and says that even with ticket prices ranging from $42 to $122, the Napoleon screenings are "likely to lose money."

Ouch. Hope they are going to be pleasantly surprised. It's true that lots of seats were available up to 2 weeks before the first show (I checked it online) so the financial projections might have looked a bit gloom. But then the tickets went quickly. Theoretically, in order to break even the 700,000 figure divided by 3476 seats (source: Wikipedia), divided by 4 shows gives $50.35 per ticket. That seems about right.

lady wakasa wrote:One note: Kevin Brownlow (or actually, Patrick Stanby) mentioned during Friday night's talk that they weren't adverse to a DVD, but that it would require a substantial sponsor.

that's too bad. i do hope it will be on dvd someday so i can see it.

JanPB wrote:Ouch. Hope they are going to be pleasantly surprised. It's true that lots of seats were available up to 2 weeks before the first show (I checked it online) so the financial projections might have looked a bit gloom. But then the tickets went quickly. Theoretically, in order to break even the 700,000 figure divided by 3476 seats (source: Wikipedia), divided by 4 shows gives $50.35 per ticket. That seems about right.

There were also quite a number of souvenirs available, and a donations table. The souvenir tables were fairly busy, and I was told (by another audience member) that it was pretty busy on other days as well. So, maybe not $700K worth, but should add something to it.

I got back from my vacation this morning. It seems booking my tickets on July 20th, 2011 paid off, because on the 31st I was seated directly across the aisle from Mr. Brownlow for the entire performance, and on the 1st, I was in the same seat and he was two rows back. I was so nervous that I didn't speak to him until the second performance, and so on the 31st, all I could do was look over at him and smile and wave, which he probably found disquieting. Finally after the dinner break on the 1st, I worked up the courage to get him to sign my essay book.

We had the following exchange:

Me: "Mr. Brownlow, would you sign [this] for me?"
Kevin Brownlow: [Something to the effect of "Of course."] "What's your name?"
Me: "Sean".
KB: "Oh, Irish. My father was from Cork."
[...]
Me: "My mother was from Belfast."
KB: "Ah! So you're the enemy."
Me: "And my father was from England [...] Blackpool."
KB: "And do you know what 'Blackpool' means in Irish?"
Me: "No."
KB: "'Dublin', and they're right across from each other."
Me: [Stunned reverence followed by profuse thanks]

Kevin Brownlow is awesome.

I was rather upset to see that it appeared he wanted to speak after the final performance and didn't get a chance to. He had notes with him, and he had made his way down to the stage as the lights were coming up. But after a short thank you announcement from the venue, the audience broke up. I would put it down to bad planning, but still, a shame.

P.S. For the curious, there were large signs in the lobby that indicated the April 1st performance was being filmed. I managed to ask Mr. Brownlow before that performance (referring to him stupidly as "Sir" out of nervousness) if he knew why and he had no idea. We both concluded it must be for posterity--he said this "usually is" the reason.

JanPB wrote:Why didn't the PFA move this talk to a larger auditorium is a mystery. (They do have large auditoriums at the Berkeley campus, unbelievably.) A film shows up once per 30 years and they schedule a meeting like this in a small projection room. Brilliant.

I would guess this is because essentially the same talk was given to a nearly-full house at the Castro Theatre last July when the screenings were announced.

As for other US screenings, Richard Harris has been giving hints in other forums that something might happen, but I've also heard rumors that Coppola only allowed these four screenings because they were in his backyard. Who knows. Just glad I was able to attend twice.

I believe only the final screening was a genuine sell-out. Perhaps the penultimate as well. Still, I suspect the SFSFF broke even.

i think the film will be on dvd within the next few years. also think there might be a tour too.

goalieboy82 wrote:i think the film will be on dvd within the next few years. also think there might be a tour too.

Based on what?

just a hunch i have.