Napoleon, 2023.
Directed by Ridley Scott.
Starring Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, John Hollingworth, Youssef Kerkour, Davide Tucci, Edouard Philipponnat, Ludivine Sagnier, Matthew Needham, Erin Ainsworth, Thom Ashley, Anna Mawn, Gavin Spokes, and Jonathan Barnwell.
SYNOPSIS:
An epic that details the checkered rise and fall of French Emperor Napoleon Bonaparte and his relentless journey to power through the prism of his addictive, volatile relationship with his wife, Josephine.
Ridley Scott is no stranger to historical epics, from his debut The Duellists in 1977 through to Oscar-winner Gladiator, Kingdom of Heaven and 2021’s The Last Duel. The genre has supplied some of the most memorable achievements in his illustrious filmography and so anticipation is naturally high for his take on the life of Napoleon Bonaparte, one of history’s most recognisable figures. There is extra hype about this being a reunion between Scott and Gladiator star Joaquin Phoenix. Alongside Phoenix, Vanessa Kirby plays Napoleon’s wife and Empress Joséphine.
From the outset, it is clear that is a true epic in every sense of the word as we cut from revolutionary France and a young Bonaparte trying to secure a prominent position within the French military. The set pieces scattered throughout are some of the most impressive sequences in Scott’s entire filmography. There are few contemporary filmmakers who can craft spectacle on this sort of scale. This perhaps shouldn’t come as any surprise but there is a true sense of grandeur to the action that elevates some of the film’s shortcomings and will keep audiences invested. They also give us a sense of Napoleon’s recklessness as a military leader and the scale of losses under his command as he went from a hero to a villain in the eyes of his supporters.
Oddly for a 2 hour 40 minute film, there are periods that feel rushed, perhaps owing to a four-hour cut that Scott plans to release on Apple TV+. There are several important periods in his life and relationship with Joséphine that are briefly touched upon or glossed over entirely. Owing to this being a shorter cut, some sequences don’t flow well leaving the audience to fill in the gaps which can prove frustrating. The four-hour cut may make the film flow better, but will audiences have the stomach for another 80 minutes? The historical accuracy has been questioned and while this may rile Napoleon experts, for the most part this doesn’t prove overly distracting.
Phoenix, while a physically imposing figure, plays Napoleon curiously as a petulant man-child in his court, prone to tantrums but cold and calculating on the battlefield. Tonally there are some question marks with more moments of humour than one might expect for a film of this sort. The intention may have been to satirise Napoleon and the French court but it can come at the expense of some of the more dramatic moments. Kirby shines, giving Joséphine a tragic air as she cannot conceive an heir for the Emperor, their relationship, is central to the narrative. She is silent, reflective, a foil for her more bombastic husband. Outside of our central pair, few of the supporting roles get the development required for us to root for their cause.
Napoleon is not without its high points, especially in its phenomenally staged action sequences that we have come to expect from Scott. It looks the part with cinematographer Dariusz Wolski, delivering a visual feast. Outside of the scale and epic action, there are shortcomings to be found in its muddled tone and pacing, meaning this fails to come up as one of Scott’s best. Phoenix’s uneven performance is frustrating but Vanessa Kirby delivers an impressive if subdued performance.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Chris Connor
