| Photos (see all 3 | slideshow) |
Directed by | |||
| Abel Gance | |||
Writing credits(in alphabetical order) | ||
| Abel Gance | written by | |
Produced by | |||
| Robert A. Harris | .... | producer (1981 re-release) | |
Original Music by | |||
| Carmine Coppola | (1981) | ||
| Carl Davis | (1980) | ||
| Arthur Honegger | |||
Cinematography by | |||
| Léonce-Henri Burel | |||
| Jules Kruger | |||
| Joseph-Louis Mundwiller | (as Jean-Paul Mundviller) | ||
| Nikolai Toporkoff | |||
Film Editing by | |||
| Abel Gance | |||
Casting by | |||
| Louis Osmont | |||
Production Design by | |||
| Simon Feldman | |||
Art Direction by | |||
| Alexandre Benois | |||
| Jacouty | |||
| Meinhardt | |||
| Serge Piménoff | |||
| Pierre Schild | (as Pierre Schildnecht) | ||
Costume Design by | |||
| Mme. Augris | |||
| Mme. Neminsky | |||
| Charmy Sauvageau | |||
Makeup Department | |||
| Boris de Fast | .... | makeup artist | |
| Wladimir Kwanine | .... | makeup artist | |
Production Management | |||
| Noë Bloch | .... | production manager | |
| Edouard De Bersaucourt | .... | production manager | |
| Robert A. Harris | .... | production supervisor (1981 re-release) | |
| Louis Osmont | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Henri Andréani | .... | assistant director | |
| Jean Arroy | .... | trainee assistant director | |
| Pierre Danis | .... | assistant director | |
| Henry Krauss | .... | assistant director | |
| Anatole Litvak | .... | assistant director | |
| Jean Mitry | .... | trainee assistant director | |
| Mario Nalpas | .... | assistant director | |
| Sacher Purnal | .... | trainee assistant director | |
| Viktor Tourjansky | .... | assistant director | |
| Alexandre Volkoff | .... | assistant director | |
Sound Department | |||
| Mike Berniker | .... | recording director: Milan (1981 re-release) | |
| Keith Klantwitter | .... | sound engineer (1981 re-release) (as Keith Klawitter) | |
| Brad Sherman | .... | sound recordist (1981 re-release) | |
Special Effects by | |||
| Segundo de Chomón | .... | special effects | |
| Minime | .... | special effects | |
| Edward Scholl | .... | special effects | |
| Eugen Schüfftan | .... | special effects | |
| Nicolas Wilcké | .... | special effects | |
Visual Effects by | |||
| W. Percy Day | .... | matte painter | |
| Eugen Schüfftan | .... | visual effects supervisor | |
| Nicolas Wilcké | .... | miniature maker | |
Camera and Electrical Department | |||
| Albinet | .... | gaffer | |
| Paul Briquet | .... | camera operator | |
| Léonce-Henri Burel | .... | additional photographer | |
| Doublon | .... | gaffer | |
| Rusty Geller | .... | assistant camera (1981 re-release) | |
| Graza | .... | gaffer | |
| Roger Hubert | .... | additional photographer | |
| Georges Lucas | .... | additional photographer | |
| Jim McCoy | .... | camera operator (1981 re-release) | |
| Jean-Pierre Mundviller | .... | additional photographer | |
| Émile Pierre | .... | additional photographer | |
| Lee Planskoy | .... | camera operator | |
Costume and Wardrobe Department | |||
| Jeanne Lanvin | .... | costumes: Josephine | |
Editorial Department | |||
| Marguerite Beaugé | .... | assistant editor | |
| Henriette Pinson | .... | associate editor | |
Music Department | |||
| Paul Bogaev | .... | conductor (1981 re-release) | |
| Carmine Coppola | .... | conductor (1981 re-release) | |
| Carmine Coppola | .... | music arranger (1981 re-release) | |
| Dennis James | .... | musician: organ (1981 re-release) | |
| Douglas M. Lackey | .... | music editor (1981 re-release) (As Douglas Lackey) | |
| Don MacDougall | .... | music mixer (1981 re-release) (as Don Macdougal) | |
| Colin Matthews | .... | orchestrator: Carl Davis (uncredited) | |
| David Matthews | .... | orchestrator: Carl Davis (uncredited) | |
| Christopher Palmer | .... | orchestrator: Carl Davis (uncredited) | |
| M. Szyfer | .... | conductor (uncredited) | |
Other crew | |||
| Kevin Brownlow | .... | restoration (1981 re-release) | |
| Francis Ford Coppola | .... | presenter (1981 re-release) | |
| Simon Feldman | .... | technical director | |
| Constantin Geftman | .... | production assistant | |
| Grégoire Geftmann | .... | production assistant | |
| Edmond T. Gréville | .... | production assistant | |
| Hoden | .... | production assistant | |
| Leonid Komerovsky | .... | production assistant | |
| Georges Lampin | .... | production assistant | |
| Lemirt | .... | armorer | |
| Grogoire Metchikoff | .... | production assistant | |
| Henry Pauly | .... | production assistant | |
| Ivan Pavloff | .... | production assistant | |
| Andre Pironet | .... | production assistant | |
| P. Christopher Reyna | .... | consultant: Polyvision alignment (1981 re-release) (as Christopher Reyna) | |
| Rene Rufly | .... | production assistant | |
| Michel Scripnikoff | .... | production assistant | |
| Simone Surdieux | .... | script supervisor | |
| Peter Williamson | .... | tinting supervisor (1981 re-release) | |
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| Alexander | Révolution française, La | A Tale of Two Cities | Anthony Adverse | Saving Private Ryan |
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I was one of the thousands who were fortunate enough to see the fullest version of Napoleon at the Royal Festival Hall in early December 2004. As noted in 'alternate versions', this may prove to be the last showing until the second half of the Century (when copyright lapses) of what is so far the definitive version of the film.
It was a truly memorable experience. I had not seen 'Napoleon' for several decades, and that was a shorter version with piano accompaniment ~ though still played at the correct speed. This longer version at the correct speed with The London Philharmonic Orchestra and the RFH organ playing in full volume for the climax was a mind-blowing experience. I have not seen Coppola's 'keystone cops' version, but if the trailer on this website is any guide, with Napoleon strutting in Chaplinesque mode, it seems a travesty of what I saw; More 'Homage to Mack Sennett'.
It is clear that these two versions are radically different. It seems grossly unfair to score and review the two main versions in a single poll as if they were the same. The 95 minute difference in running time is longer than many complete films reviewed on this site ~ such as Bronenosets Potyomkin from the same era. There are clearly enough reports/votes to permit the two versions to be scored separately. I suspect the approval rating of the longer version would be significantly higher than for the Coppola version.
It there is ever another opportunity to see this latest version (or even better, an even fuller version) with the Carl Davis score, I shall do my utmost to seize the opportunity.