There is a bon mot you may have heard to the effect that England and America are two countries divided by a common language. The observation is sharp and spot-on, so naturally it has been attributed to two of the greatest wits of their day, George Bernard Shaw and Oscar Wilde. Yet these attributions are without verifiable foundation. (The closest Wilde ever came in print: “We really have everything in common with America nowadays except, of course, the language.”)
Similarly, we all know what is meant by “Napoleon complex.” But did you know there is every possibility that Napoleon was not short? Like the commonality of language that divides the English and the Americans (and I know that Shaw and Wilde were Irish), it turns out that there may be some confusion over Napoleon’s actual height on account of two different systems of measurement that happened to use the same terms.
Be that as it may, this week on “Picture Perfect,” with Bastille Day (July 14) right around the corner, we’ll surge to power on the allegedly diminutive shoulders of Napoleon Bonaparte. The focus will be on the Napoleonic Wars – which is to say, movies set, at least in part, between about 1803 and 1815.
There is a lot of unlikely casting in these films. The first English language adaptation of Leo Tolstoy’s “War and Peace” (1956) stars Audrey Hepburn, Henry Fonda, and Mel Ferrer, with Herbert Lom as Napoleon. Lom is fine; but Henry Fonda? At least the music is by Nino Rota.
Stanley Kramer’s “The Pride and the Passion” (1957) is loosely based on the novel “The Gun,” by C.S. Forester. Forester is best known for the nautical adventures of Horatio Hornblower – also set during the Napoleonic Wars.
The film depicts the story of a British officer (Cary Grant) who is ordered to retrieve a large cannon from Spain. But before he can do so, he must lend assistance to the leader of the Spanish guerillas (Frank Sinatra!) in the transport of the weapon across 600 miles of treacherous ground to reclaim the city of Avila from the French. Further complications arise from their respective feelings for Sinatra’s mistress (Sophia Loren).
The score is by Trenton-born George Antheil, self-proclaimed “Bad Boy of Music.” Antheil achieved lasting notoriety as the composer of the raucous “Ballet Mécanique” in the 1920s. He would later embrace a more conservative language for his symphonies and for his music for the movies. Antheil composed over 30 film scores. “The Pride and the Passion” would be his last.
Ridley Scott’s first feature, “The Duellists” (1977), is based on a story by Joseph Conrad. It relates the tale of an obsessive duellist (Harvey Keitel), who takes it as a personal affront when he is arrested by a fellow hussar (Keith Carradine) for crossing swords with the mayor’s nephew, whom he has fatally wounded. This sets the two men in a kind of combative pas de deux, a series of duels that spans the entire Napoleonic era. The sheer beauty of the film is matched by Howard Blake’s haunting score.
Abel Gance’s “Napoleon” (1927) is widely regarded as one of the towering achievements in all of cinema. I’ve had the good fortune to see it on the big screen twice. However, it was with a new score by Carmine Coppola, the father of Francis Ford Coppola, who financed the film’s revival. The original score was by Arthur Honegger. Honegger was the famed French composer (of Swiss birth), who was one of the members of Les Six, a lose collective of artists that also included Francis Poulenc and Darius Milhaud.
Gance’s epic was gargantuan at the time I saw it, in the 1980s – about four hours long. The most recent restoration, previewed at the Cannes Film Festival in May, brings the running time to 7 hours. That’s still down from a 9 ½ hour version shown in 1927!
The epic is crowned by a grandiose triptych, for which the screen widens to accommodate the simultaneous projection of three reels – an extraordinary innovation for its time. “Napoleon” is full of such touches. Apparently, there had even been a sequence shot in 3-D, which was left on the cutting room floor. If you’re at all interested in the squandered potential of cinema, this is a film which must be seen in the theater.
I hope you’ll join me for music from big movies set during the Napoleonic Wars. It will be a satisfying show by any measure, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!
Clip and save the start times for all three of my recorded shows:
PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT
SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EDT/8:00 AM PDT
THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT
Stream them, wherever you are, at the link!
https://kwax.uoregon.edu/
Frank Strobel conducted an orchestra of 250 musicians in the premiere of the most recent restoration of Gance’s “Napoleon” on July 4 & 5.
250-Piece Orchestra Accompanies ‘Napoleon by Abel Gance’ At Two-Day Restoration Premiere
PHOTO: A brooding Harvey Keitel in the extraordinarily beautiful “The Duellists”
