Napoleon
In Napoleon, the mist often descends upon wintry landscapes, evoking similarities to The Duellists, Ridley Scott's 1977 debut feature set in the same era. The film also features grandiose scenes of warfare, reminiscent of Scott's later works, such as the Battle of Austerlitz, where Bonaparte's army fires cannons at Austrian and Russian troops, causing them to fall into a frozen lake stained with blood. Despite its impressive visuals and well-choreographed combat, the film's sprawling historical narrative can become tiresome, especially when it deviates from the central couple. Joaquin Phoenix delivers an eccentric portrayal in the lead role, showcasing his mercurial acting skills. However, at times, his idiosyncrasies may not completely align with the character. The true vitality of the nearly three-hour historical epic emerges when he shares the screen with Vanessa Kirby, who plays Josephine. Josephine, a fallen aristocrat who regains her status through marriage to Napoleon, but later faces displacement due to her inability to bear an heir.
In an attempt to revive Stanley Kubrick's unrealized project of making a Napoleon feature, Ridley Scott endeavors to provide a comprehensive account of the military career of the French emperor. However, despite the constant display of infantry clashes, stealth attacks, skirmishes, and violent battles, the film often feels sluggish, uninteresting, and monotonous.
The screenplay by David Scarpa commences in 1793, with the execution of Marie Antoinette and the political turmoil in France that presents an opportunity for Napoleon to showcase his military prowess. He seizes this chance at the Siege of Toulon, where he leads his troops to surprise the Anglo-Saxon fleet, captures the harbor, and restores the town to the Republic. The movie progresses through a chronological sequence that will be recognizable to students of history, although it may not be entirely clear to those seeking a crash course on the subject. It covers various significant events such as the downfall of Robespierre, the end of the Reign of Terror, the conquest of Egypt, the 1799 coup that toppled the existing French government system, Napoleon's self-proclamation as Emperor of France in 1804, the decisive Battle of Austerlitz, unsuccessful attempts to establish peace with England and form alliances with Prussia and Austria, the French invasion of Russia resulting in heavy casualties, Napoleon's abdication and initial exile to the Mediterranean island of Elba, his return to lead France in a humiliating defeat against England, and finally, his ultimate exile to the British-controlled island of St. Helena in the South Atlantic.
The film presents these historical events in a manner that may be familiar to history students, but it may not provide a comprehensive understanding for those seeking a quick overview. It covers a wide range of significant moments, including political upheavals, military campaigns, and Napoleon's rise and fall from power. From the downfall of Robespierre to Napoleon's exile on St. Helena, the movie portrays the key events that shaped this period in French history. While it may not delve into the intricacies of each event, it offers a glimpse into the tumultuous journey of Napoleon and the impact he had on France and Europe during this time.
The central focus of the narrative revolves around Napoleon's relationship with Josephine, which begins when they meet at a Survivors Ball in the recently liberated city of Paris. Despite his confidence and prowess in military tactics, Napoleon quickly realizes that Josephine is his equal, if not surpassing him in certain aspects. Upon his return from Egypt, Napoleon is infuriated by the press mocking him for Josephine's infidelity, but she dismisses his attempts to shame her by asserting, "You are nothing without me."
This unique dynamic between one of the most influential figures in the world and a spouse who was recently imprisoned could have provided Napoleon with a more consistent emotional connection if their shared moments were given ample room to develop. However, the author, Scott, is always eager to return to the battlefield, resulting in Napoleon's letters to Josephine serving as the only means to maintain their connection.
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Despite Josephine's frequent attempts to conceive, her belly remains empty, much to her dismay. However, rather than accepting any responsibility herself, she casually shifts the blame onto her husband during their dinner conversations, mockingly referring to him as overweight. In a display of Phoenix's unique and humorous acting style, he retorts with a witty comeback, declaring that it is destiny that has led him to that particular lamb chop. This refusal to acknowledge defeat, whether in personal relationships or on the battlefield, is a defining characteristic of the character, simultaneously evoking both amusement and pity.
The refusal to admit defeat, whether in matters of love or war, is a prominent aspect of the character's portrayal, adding a touch of humor and pathos to the narrative. This is exemplified when Napoleon, amidst a battlefield strewn with the lifeless bodies of his soldiers, boldly proclaims, "We are winning!" This unwavering determination to deny any form of failure, whether it be in marriage or military conquest, is a defining trait that adds depth to the character's portrayal. The scene where Phoenix's character engages in comically exaggerated sexual encounters, akin to a wild farm animal, further enhances the unique and entertaining nature of the performance.
However, despite these various elements, it is clear that the overall portrayal of one of history's most ambitious individuals falls short of being comprehensive. At times, I found myself questioning whether Phoenix's performance was still influenced by his previous role in "Beau Is Afraid." On the other hand, Kirby's clever humor, captivating allure, and inherent regal presence make Josephine a far more intriguing character, and it becomes easier to understand Napoleon's infatuation with her. Nevertheless, there should have been a genuine sense of poignancy in depicting how he was manipulated by his mother and advisors into divorcing Josephine and seeking an heir elsewhere, even if his love for her persisted long after her passing.
The film's most significant and elaborate sequence takes place during the Battle of Waterloo, where Rupert Everett leads the English forces with a delightfully exaggerated performance as the Duke of Wellington. Unfortunately, the supporting cast doesn't have much opportunity to leave a lasting impression in this film. The battle scenes themselves are meticulously choreographed, showcasing Napoleon's failure to anticipate the devastating impact of the British frontal assault and the Prussian flank attack. However, while the scale of these battles is impressive, they lack the visceral impact one would hope for, despite the inventive use of period music and Martin Phipps' expansive score. Additionally, there is a disappointing lack of clarity in many of cinematographer Dariusz Wolski's widescreen visuals, which detracts from the overall viewing experience.
Despite suffering a crushing defeat, Napoleon refuses to take responsibility for his failures and instead places the blame on his subordinates for not carrying out his orders correctly. He maintains a steadfast attitude of disdain towards self-recrimination, claiming that accepting the failure of others is the most challenging aspect of life. While this statement presents an intriguing opportunity to explore the concept of deluded leadership, it fails to come together cohesively and provide a satisfying portrait.
Napoleon's unwillingness to accept responsibility for his defeat and his tendency to shift the blame onto others highlights a problematic aspect of his leadership style. By refusing to acknowledge his own mistakes and shortcomings, he creates a culture of fear and mistrust among his subordinates, who may feel that they are constantly under scrutiny and at risk of being blamed for any failures. This ultimately undermines the effectiveness of his leadership and contributes to his downfall.
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