‘Napoleon’ Movie Review: Ridley Scott’s Historical Epic Takes On Too Big Of A Scope
Photo from Aidan Monaghan/Apple Original Films/Columbia Pictures
From Jeff Nelson
Napoleon Bonaparte represented the intimidating force of France, but his legacy grew to represent more than his militant strength. Director Ridley Scott teams up with The Day the Earth Stood Still screenwriter David Scarpa to tell Bonaparte’s story of conquest in both his romance and on the battlefield. The result is a biopic that wants us to feel the weight of its subject’s influence, both as a dominating ruler and an infantile embarrassment.
The story follows Bonaparte (Joaquin Phoenix) from his origins, where he seeks promotions to gain power and influence in France. He ruthlessly pushes forward in his ascent to the position of emperor. Meanwhile, Bonaparte develops a volatile relationship with his wife, Empress Josephine (Vanessa Kirby).
Napoleon traverses a colossal scope that moves from one major historical event to the next, with on-screen text to keep track of the year and the incident’s name. Scarpa’s screenplay interprets Bonaparte as a combination of his influential image and a blubbering manchild, both of which closely intertwine with his battle exploits internal and external to his homeland. The rather quick movement from one major event to the next begins to feel like a checklist.
Scott relies the emotional stakes on Bonaparte’s romance to Josephine, which is anything but simple. His fragile male ego plays a big role in their marriage, as his insecurities in his military career and in this personal relationship are frequently one and the same. It plays out in the newspapers, further pushing Bonaparte’s hunger for public favor to the limit. Nevertheless, Bonaparte incessantly talks about his undying love for Josephine, particularly through letters addressed to her that we hear over a voice-over throughout the film, even through their roughest times together.
Napoleon never takes itself too seriously, organically infusing comedy into its dramatic and violent linings. It bleeds through many of Bonaparte’s professional and personal moments, as his infamous anger deteriorates him into a man so characteristically small. The humor consistently lands, allowing the film to momentarily break from gloomy biopic tropes.
Much of this is thanks to Phoenix’s performance as Bonaparte, who successfully infuses a brand of ridiculousness to the part. However, Kirby utterly steals the show as Josephine, even though she’s criminally underutilized here. Unfortunately, their chemistry is lacking nuance, making the complicated central romance fall rather flat. Additionally, Scott’s cast doesn’t even bother with any French accents. You’ll find more American and English ones here, truly breaking the immersion in a film that wants us to believe we’re following French armies.
Scott crafts a visually-stunning historical epic that pops on the silver screen. The grisly action sequences are thrilling, while the quieter moments in Bonaparte’s estate are simply gorgeous to behold. From production design to cinematography to costume design, this biopic is an exceptional sight to behold.
Napoleon is riveting on the battlefield, but it narratively spreads itself thin across many aspects of Bonaparte’s life, hurrying itself along in the wrong spots. Scott supposedly has a 4-hour cut coming down the road, which may work to the film’s advantage. However, this 158-minute edition feels lost in the editing room. It’s a well-shot biopic that benefits from a big, silver screen, but there’s a clear disconnect with the emotional core that it seeks to champion.
Rating: 2.5/5
Napoleon hits theaters on November 22nd, 2023.
