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Napoleon, after battling a raging storm, is rescued by his brothers who happen to be at sea on the vessel Le Hasard, and as his devout eagle alights on the mast, Napoleon takes this to be a sign of providence and emotionailly proclaims, ‘"There is only one home for us. |FRANCE." (SPECIAL REVIEW Napoleon is resolved that Corsica remain French and in his stubborn retaliation, a price is put on his head. But nothing deters this passionate Parisian. He steals the Tricolor (French flag), and is chased endlessly by troops until he is finally driven into the sea and ironically uses the Tricolor as a sail. As the Sirocco winds whip Napoleon around in horrendous waves, waves of political unrest are unleashed at the convention in Paris. Gance uses effective superimposition to interpret the profound emotion on each face young and old â€" a wonderful sensation as the anthem is played throughout the streets and the revolution begins. Napoleon decides to return to birthplace Corsica, for a joyous family reunion only to discover nationalist leader Paoli has made a pact with the English. In 1789, the revolution is rising, and at Clubs Cordeliers the "three Gods," Danton, Marat. and Robespierre argue the fine points Napoleon Bonaparte is now a lieutenant, and in the mob as a young officer presents a song which turns out to be La Marsellaise, the proud anthem which rallies revolutionaries to the fore The young upstart, with tightâ€"lipped smile, uses lightningâ€"fast war strategy to defeat his oppressors and the military faculty soon realize this "enfant terrible" will indubitably exceed his peers. From the first second, the film speaks to you through Napoleon‘s eyes, lucid orbs of destiny and fierce determination. The story unfolds with a young, defiant Napâ€"eyeâ€"ony, a pupil at the military college of Brienne, engrossed to the delight of Parisian masters in a horrendous snowball battle. With the Kâ€"W Symphony at the musical helm, Gance‘s Napoleon is the cultural event of the season, and the Centre‘s standing ovation at the finish of the fourâ€"hour spectacle was solid artistic evidence. But the genius is Gance. His film techniques, including superimposiâ€" tion, slow motion, and marvelous color tinting, were 30 years ahead of their time. And Napoleon‘s 18â€"minute crash climax featuring Gance‘s own invention of synchronized threeâ€" screen Polyvision is simply magnificent. Bonaparte once said, "To make oneself understood, to the people, one must first speak to their eyes," and Gance does this through Napoleon, as the film takes you into a colorful past of silent splendor. Technical acclaim goes to mastermind Kevin Brownlow who spent 20 years finding and reconstructing all of Gance‘s original 1927 project. Brownlow is truly a cinematic scholâ€" ar. # Mammoth movie maker Francis Ford Copâ€" pola took Gance‘s incredible masterpiece and exposed it to the world. His father Carmine took great pride and effort to devise the spineâ€"tingling musical score including battle anthem La Marsellaise, love theme for Napoâ€" leon and Josephine, The Thrill of Being in Love, and Cira, a song for the street revolutionaries, as they followed the nobility to the guiliotine. Abel Gance‘s silent cinematic vork burns with passion and simplicity unlike the modern film industry has ever seen. Monsieur Bonaparte recently invaded The Centre in the Square in a threeâ€"night victorious blaze of glory, and is presently the electrifying talk of the town. Napoleon first premiered at the Radio City Music Hall last year, to intense tumultuous response. Since then, Napoleon and his vast army have conquered the delight and imaginaâ€" tion of film goers coast to coast. By Coral Andrews Abel Gance died last November, a seasoned 91, but his aesthetic film epic Napoleon will live in the hearts and souls of the world forever, thanks to Francis Ford Coppola, father Carmine Coppola, and technical wizard Kevin Brownlow. Napoleon conquers with delight and imagination As Napoleon, in centreâ€"screen, is fanked by his army the audience gets a tremendous dimension never before witnessed on screen In Tricolor red, white, and blue, with the symphony joyfully playing "La Marseillaise," and Josephine‘s exquisite face featured suâ€" perimposed, in all the destiny and finery of the march, a lump forms in your throat. Napoleon has spoken wonderfully to you with his eyes, and your soul throughout the magical masterpiece can not help but listen. _ And the war scenes with color tint techniques of blue, red,. yellow, pink, purple, and highâ€" contrast black and white, replace the acute agony of suffering with painful artistic realiâ€" ty The final 18 minutes in Gance‘s synchronized threeâ€"screen Polyvision is breathtaking. It blends physical, mental and emotional aspects, as Napoleon takes the low morale of Alps foot soldiers and lifts it to heights they‘ve never known before. He pauses and visits a now deserted convention hall and proclaims to revolution ghosts, "I will have a universal republic and an end to war..." Albert Dieudonné speaks beautifully with his magnificent eyes, and is unforgettable as Napoleon Bonaparte, bringing to his interpreâ€" tation a silent simplicity which can never be duplicated . Gina Manes, as Josephine, is like a cherished porcelain doll, her lovely countenance a treasured asset to Gance‘s epic work. To Napoleon, the world can be his, for Josephine is his world. She agrees to marry this fiery Frenchman if her protector Barras, also leader of the convention, makes Napoleon Commander to the Army of the Alps. Barras is willing to be rid of Josephine, and Napoleon gets both his wishes granted as he weds Josephine and valiantly sets off to command the regiment in the Alps. Gance‘s interpretation of the Bal des Vicâ€" times (all the victims who listed at the Bureau of Death, but were released) is delightful. There are hints of nudity but it is done with elegance. Through gel lenses and flowing feathers, amidst champagne and caviar, Napoleon sees the light of his life, Josephine de Beauharnais. * And the petite Romeo falls deeply in love, as he kisses his globe in his study, pretending it is her. ‘"Are you not kissing the globe, sir," asked an astonished observer. "Of course not. This is Josephine‘s mouth," he answers staunchly. Then Napoleon agrees to fight. The feisty captain arms the streetspeople and they defeat the reactionaries in a burst of pride and glory. Napoleon at present will not fight the Royalists, arguing he would rather fight foreigners than Frenchmen, and in reply he is sent in disgrace to the Office of Topography, where he prepares war strategies for Italy, until the government itself is threatened. It is France‘s finest hour and Napoleon Bonaparte is now a hero. After the Toulon win Napoleon discovers Paris in a reign of terror. Marat has been murdered in his bathtub, and Robespierre has joined forces with the eccentric Saintâ€"Just, (played wittily by Abel Gance irimself) and Salicetti, an old foe of Napoleon‘s. The three erect the Committee of Public Safety, and everyone goes to the guillotine at the drop of a hat, or should I say head. ‘‘You‘re lucky," says one to the other. least you can digest them." But history turns yet another page, as Robespierre and his terrorists are challenged by the convention. Saintâ€"Just tries to conquer the assembly and the reign of terror is over, as both are executed. Napoleon‘s name and future sweetheart, Josephine de Beauharnais, are both cited by the Bureaucracy of Death, but they are saved by an extraordinary hero, an ‘"‘eater of docuâ€" ments." Here lies the humor, as one sees bureaucrats up to their ears in execution orders and two misfits mysteriously chewing them up. The young captain‘s war knack leads him on to the siege of Toulon, 1793, and eventual victory. “At Artscamp: a new concept in camps "In other words. ages five, six and seven might be together. eights and nines together, 10s and 11s and then Kasta says that the children will be divided into groups according to Kasta, who is coâ€"ordinating the administrative aspects of the proj ect, says the camp‘s focus will be on drawing and painting. music. drama and creative movement. ‘"In all of these areas, we‘re not suggesting that we‘re going to impart a particular skill level, but rather an appreciation for the various art forms. Now that doesn‘t mean that the children will be just sitting and watching things; it will be very much a handsâ€"on experience for them .‘ The camp will be divided into two., twoâ€"week sessions, the first session beginning on July 12 and the second on July 26. The fee per session is $90. ‘"We have just taken the same concept and basically the same program outline and adapted it to our situation .‘ ‘"Mr. Berman has run similar camps in Burlington and at McMas ter University in Hamilton, so the concept and an outline of the program was in existence. Don Kasta, assistant director of partâ€"time studies and continuing education at UW, says the universi ty was approached last fall by Sam Berman. education director at a synagogue in Burlington, with the proposal for establishing an arts camp here. Described as "an alternative to other daycamps," an arts camp for children between the ages of five and 13 is being offered at the University of Waterloo. By Victor Stanton € A new concept in daycamps for children is being imported into Waterloo this summer. Albert Dieudonne is unforgettable as Napoleon Bona ‘"But if the response of the peoplie who have indicated they want to come is an indicator, then there‘s a good chance this arts camp concept will become a regular part of summers in Waterioo." Since it is hoped to have 80 children participating in each ses sion, divided into 20 per age group. this would mean "there would be three staff people at all times with each group." says Kasta. As to the future, Kasta says this summer will have to be assessed when it‘s over. ‘"We‘ve hired a supervisor for the camp, four specially trained people who will be responsible for the four artistic areas of the program, four counsellors and four counsellorsâ€"in training." While Berman and his arts camp founding partner Yoka Traarbach. an artist from nearby Rockton. will be "the creative resource persons"‘ for the local camp sessions, the project also will involve a number of Waterloo residents. Already, he adds, the sessions are ‘‘halfâ€"way to being filled." "It may be somebody versed in jazz or Indian dancing,. or a profes sional children‘s story writer. a photographer or just somebody who has a skill to tell them about and to show them." ‘"The children will either watch a presentation by a visiting artist or take part in a workshop conducted by a practising artist," Kasta ex plains. Groups will rotate among the art, music, drama and creative moveâ€" ment programs each morning. Monâ€" day, Wednesday and Friday after noons will be devoted to swimming and "creative water play." And on Tuesday and Thursday afternoons. ""there will be what we call special programming." 12s arrd 13s."