I spent much of New Year’s Eve quite rationally, watching a five-and-a-half hour silent movie at the Edinburgh Filmhouse.
I should clarify that there were three intervals. And it was time well spent: the film was a restored BFI version of Abel Gance’s 1927 epic Napoleon, telling the story of the general’s early years. Despite the feature’s length it was intended as only the first in a series of six movies covering the life of the great man. As it transpired the opening episode proved so hard to make that its successors were never made.
The film is a technical wonder, illustrating the full range of what the avant-garde filmmakers of the 1920s could do with limited means. It was one of the first movies to use fluid camera action and tracking shots, and employed a battery of new techniques including close-ups, point-of-view perspectives, multiple exposure, colour tinting and mosaic effects.