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COLUMN David Jarman Silence is golden Two recent outings to the cinema both seemed to relate to this month’s <strong>Viva</strong> theme of ‘The Word’, albeit in diametrically opposed ways. The one thing that Ingmar Bergman’s Scenes from a Marriage and Abel Gance’s 1927 silent epic, Napoléon really have in common is their immense length. Bergman’s film clocks in at 168 minutes, but what I saw was a special screening at the BFI of the original, much longer version made for Swedish TV. This has a total running time of 296 minutes. It started at one o’clock on a Saturday afternoon with an introduction by the Russian director, Andrey Zvyagintsev, in London to promote his new, magnificently bleak film Loveless. With a one-hour break in the middle, and a 15-minute breather towards the end, we were eventually allowed to return to our homes shortly after 7.30. Very little happens in this study of the marriage of Johan and Marianne, played by Erland Josephson and Liv Ullmann. There are a couple of minor characters, but Johan and Marianne completely dominate the drama. In two of the six 50-minute TV episodes they are the only characters. And what do they do? They talk. You might say it’s ‘words, words, words’ all along the way, but the densely detailed scripts are so lifelike and the acting so brilliant that the whole thing was totally riveting. Napoléon was an even longer film, but equally absorbing. It was shown at the Depot on Sunday, 18 February. And even though it runs for 333 minutes it still only takes Napoléon Bonaparte’s story up to 1797. The only problem with this silent film were the words – the intertitles, translated into English. (I say the ‘only problem’, although personally I would have preferred it to have been screened without the Carl Davis score. I agree with David Thomson, citing Gilbert Adair’s plea, derived from the screening policies of Henri Langlois, that ‘silent pictures should stay silent’. And perhaps the introductions to silent classics should be silent as well.) But back to those intertitles, sometimes unintentionally funny, sometimes just bathetic. So a key character is introduced along the lines of ‘beautiful, if amoral, she was a woman of easy manners and a talented musician’. A tavern scene begins with the announcement: ‘At the Moulin du Roy where politics is King’. Or perhaps that should have been ‘Emperor’. Elsewhere we are informed: ‘A game of chess was bound to attract two strategists like Bonaparte and Hoche’. This could easily be the caption to a Glen Baxter cartoon. Returning to his native Corsica, Napoléon learns of a dastardly plot to sell the island to Perfidious Albion. “What will you do?”, he is asked. “Take action, mother”, his reply. Still in Corsica, but in more reflective mood, ‘He went every day to discuss the future with his friend, the ocean’. Back in Paris, he puts the fruits of those discussions into practice. “What is that noise?” someone asks. “It is Bonaparte entering History again”, they are told. Still, a great film which I’d never seen before. Thank you Depot. 27