It's tedious, but once you get through the four hour film, you'll never forget it. It's much like what I call, "The Kubrick Effect." It's one of those films you sit through and you feel pressured to pay attention to every detail because you think it will all pull together in the end. Well, it does and it doesn't. The film DOES have an end, but at the very moment when the production credits begin to roll, you'll feel a little disappointed. However, after a few minutes, you'll begin to put it all together in your head and it'll make a huge impresion on you. The film is not a circular journey, as is the popular style to make movies in America. There is no glitzy glamour to this film, except for the very vreative use of cinematogprahy and editing. Gance made the camera a cannon which fired images rapidly for intense sequences which he would later repeat in his most famous film NAPOLEON. The Kubrick Effect is that you can probably only sit through the film, in it's entirety, once. You feel drawn to view fragments, but you know you couldn't possibly sit through it all at once again. The reason I call it The Kubrick effect is that most of Stanley Kubrick's film strike me the same way---espescially A CLOCKWORK ORANGE. David Shepard, who produced this film for video, told me that after the reconstruction was completed, another reel was discovered. Although I am more than curious to see what the reel adds to the film, I agree with him that the story is more than complete and there is not much more that can be added to it, unless it developed the early downfall of Sisif's mental capacity and subsequent blindness, further developing the subplot of the love traingle between Sisif, his son and his adopted daughter. The memories of various scenes and images, specifically the brawl between Pierre Magnierre and Gabirle de Gravone on the cliff and the unusually placid ending to the film---the look of peace on Sisif's face. Gance is a great director, and my favorite of french cinema. This film is a must see for anyone who wants to learn anything about early film in the making and the score by Robert Isreal is etheral and beautifully orchestrated. My hat goes off to Film Preservation Assosciates and Flicker Alley forthis marvelous primiere release (primiere meaning that this is the first American release of the film since it's 1923 theatrical release).