Director Ridley Scott’s gargantuan war epic Napoleon is fuelled by impressive action set pieces that are placed in between the intricate details of French military commander and leader Napoleon Bonaparte (Joaquin Phoenix) in the early 1800s. While the battle sequences are truly Scott firing on all cylinders (particularly in glorious IMAX), the story and quiet moments in between these are told at a rapid pace that some viewers may find disjointed. For me, it was put together so well and while I didn’t know anything about Bonaparte (apart from the Waterloo song, thanks for the spoilers ABBA!) I was still able to follow the plot and keep up with Napoleon’s highly complex relationship with the love of his life Josephine (Vanessa Kirby). The story is told with such a wicked sense of humour and whimsy, it is hard not to be charmed by the whole affair.
The film opens with the beheading of Marie Antoinette and Napoleon’s first big siege of Toulon. A glorious nighttime battle that sets the tone for the bloody battles that lay ahead in this film. Seeing a horse ripped apart by a cannon to the bombardment of Britain’s floating fleet as they catch aflame is among the year’s best cinematography. As Napoleon rises in the military ranks, he meets the love of his life Josephine. While she may not be as into him as he thinks, their relationship and their letters to each other carry the movie as it jumps wildly from event to event, barely allowing the viewer a moment to breathe.
While this may not work for all, it is something that I did connect with. It helped the battle scenes feel epic, and the passages of time showed a very heavy highlight of his military career and the relentlessness of the number of lives he was willing to sacrifice for his own cause. This doesn’t really hit home till the end of the film (the number is astounding!).
I would be remiss if I didn’t mention how incredible this film looks in IMAX. The battle scenes benefit from IMAX’s extended screen, allowing for an incredible view of each action scene. The transition from the traditional film view to the expanded vision on the screen is seamless and you don’t even realise that it’s happening. This is truly the best way to view this film in theatres while you can.
Kirby and Phoenix have incredible chemistry. Kirby portrays Josephine as restrained and enjoys the idea of royal life while still not being wholly committed to Napoleon and his incredibly jealous streak. This carries through their story to their divorce and her exile from royal life into being a side piece for Napoleon to continue to try and control. Phoenix combines the seriousness of this character, his lust for France to be free, and his willingness to sacrifice everything to achieve this, including his marriage, which is portrayed perfectly here. Phoenix is also not afraid to add a little camp when necessary, which works well with other choices by Scott. Australians will relish in a “succulent breakfast meal” scene (IYKYK!) The consistent use of short quips and humour to hurry scenes along that previously may have been quite drawn out with details.
It feels like not much historical accuracy is present here, and that’s totally ok. With the main battles being as accurate as they can, it feels like a lot of liberties were taken with Napoleon’s personal life, allowing for some entertaining dialogue, one in particular about the lamb chop of destiny will stay with you after the film is over.
Director Ridley Scott has confirmed he is working on a 4-and-a-half-hour director’s cut of the film, which may allow for further exploration of the scenes that were rushed through. It may also allow for Josephine to have more of a story outside of her brief arc in this version, serving as an extension of Napoleon’s ambition to rule.
Napoleon may not satisfy history buffs, but it does however successfully paint a picture of who he was and his appetite for battle and the strategy behind it. Napoleon himself saying in the movie that he “can’t transfer my knowledge of where to place soldiers to anyone else” While his failed marriage and obsession with creating a male heir to carry on his legacy feels underbaked at best, it does allow for Kirby to shine as Josephine. Phoenix is the magic ingredient here to making Napoleon as likeable as he can be; his proud and in-charge stance, mixed with his ability to appear as a loving husband and passionate French patriot, all combined with a wicked sense of humour to deliver one of the best performances of his career.
