“Napoleon” is a massive film, as one might expect given that it follows its title character from the bloody delirium of the French Revolution to battlefields across Europe, Africa, and, tragically, Russia. More surprisingly, the film is frequently eccentric and, at times, eccentrically funny. Scott is known for his refined craft and technique, as well as the pleasures of spectacle filmmaking at its most expansive. You expect heft, and seriousness, not snort-out-loud comedy, which explains why, while watching the film, you will get a sense of Karl Marx’s axiom about history being first tragedy, then farce.
Napoleon rules new (online) worlds even from his grave.
Napoleon rules new (online) worlds even from his grave. As the release date approached, interest in Napoleon topics grew steadily, surpassing modern figures such as Joe Biden, Elon Musk, and Beyoncé—all before the film was even released. Even the article about bicorne hats, Bonaparte’s preferred headwear, is receiving the most traffic in recorded history.
In every scene of Ridley Scott’s Napoleon, echoes of the grand masters are evident. The warmth and rich tones captivate the eye, whether in the six meticulously crafted battle sequences, the serene intimate moments, or the vibrant depictions of the Reign of Terror. Dariusz Wolski, a longstanding collaborator with Scott, showcases frames that are truly works of art, as seen in his notable work in films like Prometheus, The Counselor, Exodus: Gods and Kings, The Martian, Alien: Covenant, All the Money in the World, The Last Duel, and House of Gucci.
This biopic holds much to appreciate, yet an underlying frustration lingers due to missed opportunities amidst the allure and visual appeal. While Scott aimed to craft a hagiographic portrayal of Napoleon, the absence of mention regarding the French general’s administrative reforms is perplexing. His bold military campaigns, still subjects of study in war colleges, are portrayed more as luck than strategic planning. Perhaps a nod to his penchant for fortunate rather than astute generals.
For those seeking a nuanced retelling of Napoleon’s life, disappointment awaits. Despite the end credits acknowledging the human cost of his military endeavors, there is a notable omission of his draconian policies towards detractors, conquered nations, the reintroduction of slavery, and other contentious aspects.
Commencing with the harrowing execution of Marie-Antoinette (Catherine Walker) and her beheading under the watchful eyes of Napoleon Bonaparte (Joaquin Phoenix), an ambitious Corsican soldier, the narrative swiftly moves to his initial military triumph at the Siege of Toulon. The story accelerates as he encounters the aristocratic widow, Joséphine (Vanessa Kirby), whom he ardently pursues and eventually marries.
Napoleon experiences a series of military triumphs, yet he hastily returns to France from an Egyptian campaign upon learning of Joséphine’s infidelity. The realms of public and personal intertwine as Napoleon ascends to become First Consul and later Emperor. However, faced with Joséphine’s inability to bear an heir, he reluctantly divorces her. Despite their separation, Napoleon and Joséphine maintain a friendship and confidant relationship. The devastating defeat in Russia led to Napoleon’s initial exile in Elba, and the ultimate battle at Waterloo resulted in his exile to Saint Helena, where he passed away at the age of 51.
Phoenix endeavors to infuse vitality into the character of Napoleon, showcasing his impressive acting prowess by sculpting a somewhat nuanced portrayal of the ambitious Corsican, given the limited material at his disposal. Scott once considered another actor for the lead role, possibly Adam Driver, but was captivated by Phoenix’s performance in Joker. Kirby delivers a compelling performance as Joséphine, portraying both fire and ice, making it believable that her love, which couldn’t triumph domestically, extends outward to conquer the world.
Notable figures like Paul Barras (Tahar Rahim), the politician, Caulaincourt (Ben Miles), the diplomat, Lucien (Matthew Needham), Napoleon’s brother, Alexander (Édouard Philipponnat) as the sulky Tsar of Russia, and Arthur Wellesley (Rupert Everett) as the sniffy Duke of Wellington, bring elegance, frills, and color to the narrative but contribute little else.
Scott mentions the existence of a director’s cut spanning four hours and 10 minutes, challenging the notion that brevity is the soul of wit. Despite this, the audience can still revel in the beautifully crafted frames, the exhilarating intensity of battle, and the lingering desire to delve deeper into a life that was anything but ordinary.
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