December 6, 2023
FILM: NAPOLEON
DIRECTED BY: RIDLEY SCOTT
STARRING: JOAQUIN PHOENIX, VANESSA KIRBY, TAHAR RAHIM
RATING: 3 out of 4 stars
By Dan Pal
It’s bit surprising that it has taken this long to tell a fairly complete story of the Emperor Napoleon on screen. He was a pretty notorious figure in world history that many of us know only a scattering of details about. It makes sense that director Ridley Scott should take on the challenge at this point. He’s made a few pretty big budget historical epics (Gladiator, Black Hawk Down, 1492: Conquest of Paradise) in his career. Personally, I’ve been a bit lukewarm on his work but I’m always willing to see what he has up his sleeve. Scott doesn’t typically take a lot of major chances in his subject matters (perhaps Thelma & Louise, The Martian, Hannibal, Blade Runner, and Alien may be some of the exceptions.) As a result, there’s a certain familiar quality to many of his films.
Napoleon is an interesting case because he casts Joaquin Phoenix (who he worked with on Gladiator) in the title role. The actor can be pretty unpredictable in his own choices and characterizations (Joker, Her, The Master) and so it shouldn’t be surprising that he takes his own unique swing at this historical figure. Initially, he portrays Napoleon as a quiet, flat affect, socially awkward General. He stands by himself at parties and really only comes alive when he meets Josephine, played by Vanessa Kirby. She is also pretty fascinating as she has a sexual power that Napoleon does not. His attempts at sex are mechanical and far from romantic (almost comical!) What Napoleon really wants, besides to conquer a few countries, is an heir, which complicates his relationship with Josephine.
The film itself shifts between this personal side of Napoleon’s life with his attempts to battle England, Russia, and Egypt. Throughout all of this, Phoenix develops the character as a bit bratty and immature. He’s not quite a bumbling buffoon but he does teeter on the edge of that personality quirk. As such, Phoenix may be the best reason to see this film. He continues to be unpredictable through the end. No doubt Ridley Scott was comparing Napoleon to some of our ruthless international leaders of recent years. One can only wonder if they will have their own “Waterloo” like Napoleon had. (If you don’t know what I mean, see the film.)
As a production, this one is quite massive. It’s not a surprise that Scott could pull it off with his half century of filmmaking expertise. The sets and costumes are beautifully designed to capture the era. The color palette used is curious. Many scenes, particularly those when Napoleon may be at his most introspective or intimate with Josephine, are filled with a range of blue hues. The cool color suggests a certain level of calmness. These are contrasted with some of the more intense scenes which are atmospherically warm. Sometimes these butt right up against each other in startling contrast.
Aside from Phoenix, it is the cinematography that stands out the most. This is especially true during the final battle scene at Waterloo. The wide shots provide an immense view of the thousands of soldiers whose lives are on the line. No doubt plenty of digital imagery was used to capture much of the intense fighting. Sounds, explosions, and deaths are all handled with power and excitement.
There are definitely a few lulls in the narrative though. At various points, Napoleon and Josephine are separated from each other and we only hear their communication through letters they write. These scenes do drone on a bit and feel a bit too heavily conformed to romantic drama conventions.
It’s also worth noting that although the majority of characters here are French, none of them speak the language or even have a French accent. They all speak in their major enemy’s dialect: English. Phoenix is the only actor sporting an American accent but then this is a multi-million-dollar budgeted film that aims to target a fairly wide audience. Still, it’s a bit of an old- fashioned movie ploy to get people to more readily see such a film by essentially wiping out all local language.
There’s not a lot here that Scott adds that is particularly new to the historical epic genre except for maybe depicting a world leader with an interesting, charismatic lead actor that feels perhaps more satisfyingly contemporary in ways that might otherwise be portrayed.
Napoleon is currently playing in theaters everywhere and will be available to be streamed on AppleTV+ later this month.
FILM: NAPOLEON
DIRECTED BY: RIDLEY SCOTT
STARRING: JOAQUIN PHOENIX, VANESSA KIRBY, TAHAR RAHIM
RATING: 3 out of 4 stars
By Dan Pal
It’s bit surprising that it has taken this long to tell a fairly complete story of the Emperor Napoleon on screen. He was a pretty notorious figure in world history that many of us know only a scattering of details about. It makes sense that director Ridley Scott should take on the challenge at this point. He’s made a few pretty big budget historical epics (Gladiator, Black Hawk Down, 1492: Conquest of Paradise) in his career. Personally, I’ve been a bit lukewarm on his work but I’m always willing to see what he has up his sleeve. Scott doesn’t typically take a lot of major chances in his subject matters (perhaps Thelma & Louise, The Martian, Hannibal, Blade Runner, and Alien may be some of the exceptions.) As a result, there’s a certain familiar quality to many of his films.
Napoleon is an interesting case because he casts Joaquin Phoenix (who he worked with on Gladiator) in the title role. The actor can be pretty unpredictable in his own choices and characterizations (Joker, Her, The Master) and so it shouldn’t be surprising that he takes his own unique swing at this historical figure. Initially, he portrays Napoleon as a quiet, flat affect, socially awkward General. He stands by himself at parties and really only comes alive when he meets Josephine, played by Vanessa Kirby. She is also pretty fascinating as she has a sexual power that Napoleon does not. His attempts at sex are mechanical and far from romantic (almost comical!) What Napoleon really wants, besides to conquer a few countries, is an heir, which complicates his relationship with Josephine.
The film itself shifts between this personal side of Napoleon’s life with his attempts to battle England, Russia, and Egypt. Throughout all of this, Phoenix develops the character as a bit bratty and immature. He’s not quite a bumbling buffoon but he does teeter on the edge of that personality quirk. As such, Phoenix may be the best reason to see this film. He continues to be unpredictable through the end. No doubt Ridley Scott was comparing Napoleon to some of our ruthless international leaders of recent years. One can only wonder if they will have their own “Waterloo” like Napoleon had. (If you don’t know what I mean, see the film.)
As a production, this one is quite massive. It’s not a surprise that Scott could pull it off with his half century of filmmaking expertise. The sets and costumes are beautifully designed to capture the era. The color palette used is curious. Many scenes, particularly those when Napoleon may be at his most introspective or intimate with Josephine, are filled with a range of blue hues. The cool color suggests a certain level of calmness. These are contrasted with some of the more intense scenes which are atmospherically warm. Sometimes these butt right up against each other in startling contrast.
Aside from Phoenix, it is the cinematography that stands out the most. This is especially true during the final battle scene at Waterloo. The wide shots provide an immense view of the thousands of soldiers whose lives are on the line. No doubt plenty of digital imagery was used to capture much of the intense fighting. Sounds, explosions, and deaths are all handled with power and excitement.
There are definitely a few lulls in the narrative though. At various points, Napoleon and Josephine are separated from each other and we only hear their communication through letters they write. These scenes do drone on a bit and feel a bit too heavily conformed to romantic drama conventions.
It’s also worth noting that although the majority of characters here are French, none of them speak the language or even have a French accent. They all speak in their major enemy’s dialect: English. Phoenix is the only actor sporting an American accent but then this is a multi-million-dollar budgeted film that aims to target a fairly wide audience. Still, it’s a bit of an old- fashioned movie ploy to get people to more readily see such a film by essentially wiping out all local language.
There’s not a lot here that Scott adds that is particularly new to the historical epic genre except for maybe depicting a world leader with an interesting, charismatic lead actor that feels perhaps more satisfyingly contemporary in ways that might otherwise be portrayed.
Napoleon is currently playing in theaters everywhere and will be available to be streamed on AppleTV+ later this month.