Famous French Emperor Napoleon Bonaparte is commonly, maybe wrongly, associated with the phrase "acquiring money, money, and more money." Despite Ridley Scott's much-anticipated film "Napoleon" hitting theaters this week, there's more depth to him but more "love, love, love."
Initial reviews of the film have sparked considerable commentary. One prominent critique, expressed by historian Patrice Gueniffey in Le Point, labeled Ridley Scott's portrayal of "Napoleon" as "a Briton's film ... very anti-French" in its nature.
Their point resonates to an extent. The sight of an American-accented Napoleon (played masterfully by Joaquin Phoenix) alongside the French government speaking entirely in British accents might have left audiences feeling disoriented sometimes, questioning their sense of place. Even the tumultuous cries by the French army of Napoleon's historic defeat, Waterloo, are depicted with British accents. Wait, wasn't Waterloo a clash between France and an alliance of England and Prussia? It all seemed like England fighting against itself.
The story commences in 1789 amid the chaos of the French Revolution, depicting the execution of Marie Antoinette by guillotine. In the mid of this tumultuous period, a young gunnery officer, portrayed by Phoenix, observes the events with a perpetual sneer, a characteristic that will come to define much of his demeanor throughout the film.
Amid concerns of threats posed by Royalists and potential invasion by the British, the newly formed republic assigned a rugged Corsican soldier to lead the liberation of a fort held by British troops in Toulon. It is at this pivotal moment, just before launching the assault, that he meticulously adjusts his iconic hat, transforming it from a casually tilted position to a precise angle, marking the beginning of his remarkable journey toward greatness.
Other criticisms revolve around the perception that the film doesn't quite match Napoleon's epic stature. However, in this regard, Scott presents a leader who, unlike previous portrayals, is somewhat humanized, and enriched with emotions.
By dismantling the classic epic narrative and distancing it from the tendency to strip historical leaders of their humanity, Scott brings Napoleon's character to life, providing a more engaging experience for viewers. I felt a glimpse of this in Christopher Nolan's "Oppenheimer," where the lack of emotional depth in depicting Oppenheimer made the film somewhat monotonous, lacking the peaks and valleys of a compelling narrative. Yet, with Scott's rendition of Napoleon, we manage to empathize a bit more. We see Napoleon as someone relatable – emotional, vulnerable, in love and simultaneously driven by ambition.
Of course, the film touches upon some of the attributes traditionally associated with Napoleon in historical narratives. Labels such as the "Corsican brute" and the "mad tyrant" are present, and a comedic note is added regarding his short stature. There's a rather humorous scene where, during his Egyptian campaign, he has to climb a platform to match the height of a mummy leaning against a wall just to see its face. Who would have thought we'd chuckle at Napoleon?
Addressing the criticisms seeking historical accuracy, Joaquin Phoenix mentioned that the film reflects Scott's perspective on Napoleon – a valid explanation indeed. Throughout history, the exaltation of leaders and the attribution of grand qualities have often veered far from reality, a point I find pertinent here.
Another element the film explores is Napoleon's complex family background, his self-assurance intermingled with ego-driven insecurities and impulsive behavior. These psychological facets stemming from his intricate background led him into one of the most toxic relationships history has seen, with Josephine de Beauharnais (mesmerizing Vanessa Kirby), who reinvented herself after the Reign of Terror and the fall of Robespierre. Their interdependence and the letters exchanged between them throughout the film significantly underpin the narrative, revealing Napoleon's human side.
Napoleon, akin to Julius Caesar, earned the moniker of "Caesar" for his authoritative rule and relentless pursuit of power.
Especially apparent in Napoleon's disproportionate power, ego and simultaneous internal insecurities, his instinctual behaviors manifest in the most primitive ways throughout the film. For instance, during his coronation ceremony, the symbolism of the laurel crown, reminiscent of Caesar, disables the emperor's crown to sit right on his head, struggling to stay put. Despite Napoleon's belief that "Destiny has brought me here! Destiny has brought me this lambchop!" there seems to be a persistent inconsistency in his coming to power.
In Percy Bysshe Shelley's "Ozymandias," a traveler recounts encountering the ruins of a statue portraying the ancient Egyptian pharaoh Ozymandias, once a powerful and proud ruler. The inscription on the statue's pedestal, "Look on my Works, ye Mighty, and despair!" now lies shattered and decayed. Interestingly, whether it is a coincidence or not, a scene in the film alludes to this.
Napoleon's survey of the great structures during his Egyptian expedition, particularly when he orders the destruction of the Giza pyramid with cannons, symbolizes an ego-driven display of power. However, Scott subtly reminds the audience of the mortality inherent in this humanized portrayal of a leader.
Before and after, the inevitable end awaits all "great" leaders, emphasizing their mortality.
Scott mentioned that there were 66 battles attributed to Bonaparte. One might argue that he bore a significant responsibility for the 6 million deaths among civilians and soldiers during the Napoleonic Wars. Such a number!
The film concludes with Scott deliberately showcasing the staggering death toll from these battles. Countless lives lost, horses fallen – usually, the deaths of animals are not taken into account, and it generally bothers me a lot. Watching it, I couldn't help but reflect on how history seems to repeat and how humankind failed to take lessons time and again. Particularly in recent years, we've witnessed similar images, even more harrowing ones, in daily news. Unfortunately, humans remain the most destructive force in the natural order.
Additionally, the film raises poignant points, especially concerning the era's grotesque transformation of guillotine executions into a visual spectacle, akin to a macabre carnival show.
The dominance of blue hues in the film significantly enhances its thematic essence. Combined with impeccable costumes, performances (except for the weird accent shifts), and set designs, the cinematography is outstanding. The depth of the scenes, wide shots depicting thousands of soldiers in battle sequences, is enchanting. It's known that Scott utilized 11 cameras for this production and artistically, it stands as a compelling film. Moreover, with Martin Phipps, known for composing the scores for "The Crown," contributing to the music, the result is of exceptional quality.
It wasn't a bang, that's for certain. Yet, it didn't disappoint outright either.
Rating: 7.5 out of 10.
