If all you know of Abel Gance’s 1927 masterpiece Napoleon is the version presented by Francis Ford Coppola in the U.S. in 1983 (and subsequently released on VHS tape and laserdisc), you ain’t heard nothin’ yet.
Coppola invited his father, Carmine Coppola, to compose an original score for the American release, which was cut down so the presentations with live orchestral accompaniment would be under four hours. Completeness aside, that score pales next to the muscular score that Carl Davis compiled and conducted for Kevin Brownlow’s full restoration. That score has only been heard in live presentations in Europe.
Carl Davis, a longtime composer for TV and film, was brought to silent movies by Brownlow when he commissioned Davis to score his epic 13-part documentary series Hollywood: A Celebration of the American Silent Film, and was so impressed with the expressiveness of his music accompanying the clips that he invited him to score a complete silent feature. When he began presenting restored silent films in British television, Brownlow turned to Davis to provide the scores. In his book “Napoleon: Abel Gance’s Silent Film,” Brownlow wrote: “I had been startled when King Vidor told us, in an interview, ‘Probably 50 per cent of the emotion came from the music.’ After listening to Carl Davis’s music and watching its effect with the films, I realized what he meant.”
The American premiere of Kevin Brownlow’s complete restoration in Oakland on Saturday, March 24, 2012, also marks the premiere of the Davis score, which draws upon music composed during the period of Napoleon’s influence (“I gave myself the date 1810 as a boundary beyond which I would not draw on any music”) with special attention to Beethoven, who (according to Davis) initially dedicated the “Eroica” Symphony to Napoleon.
Davis discusses the score in the two video clips below.
Tickets, screening information and other event details can be found at the San Francisco Silent Film Festival website.