In his eighth decade, Ridley Scott displays a directorial vigor that surpasses many filmmakers half his age. Alongside Martin Scorsese, he stands as a cinematic Highlander, consistently delivering top-tier films that grace award seasons annually.
Scott’s films unfold as epic journeys, intertwining battles with narratives that humanize the central characters. In Blade Runner, he dedicates ample time to acquaint the audience with Deckard, intensifying the mystery of the film’s conclusion. The Alien franchise reveals the depths of Ridley, showcasing unwavering determination to protect loved ones. In Gladiator, Maximus undergoes a transformation from a distinguished general to a sympathetic father-turned-slave, ultimately becoming a martyr against tyranny. Scott masterfully blends action with character development, which is evident across his filmography.
His latest historical drama, Napoleon, set in 1793 during the French Revolution, portrays the rise of Napoleon Bonaparte (Joaquin Phoenix) from a young officer to the leader of the French army. Over the course of the fictionalization of historical events, Napoleon meets and marries his first wife, Joséphine (Vanessa Kirby). Despite not being able to produce a family, which ultimately forces their divorce, Napoleon and Joséphine maintain a love for one another, one which ultimately fuels Napoleon’s return from his initial exile. The rise and fall of one of the world’s greatest military minds is explored in great detail.
Napoleon boasts numerous commendable aspects. Ridley Scott, once again, demonstrates his prowess in crafting an outstanding battle film. The combat sequences are intricately detailed, showcasing a level of realism that, while unsettling, effectively conveys the brutal reality of war in that era. Despite personal reservations about witnessing the death of horses on screen, it contributes to the film’s authenticity. There is some humor in the film, but again, it adds to the humanization of the events.
Certain scenes necessitated CGI for their execution, yet the integration with hordes of extras ensures a seamless blend, maintaining a sense of reality throughout. Beyond the battlefield, the film presents beautifully designed sets that stand in stark contrast to the harshness of war, creating a visual juxtaposition that enhances the overall impact of the destruction depicted.
The performances given by both Joaquin Phoenix and Vanessa Kirby are impressive, to say the least. It is really hard for an American-made biopic dealing with foreign subjects to be taken seriously. Either you need the actors to speak the language the actual historical figures spoke and use subtitles, or you can let the actors attempt to use an accent to emulate their country of origin.
But Scott opted against both of these, allowing the cast to just be themselves, which helped free the actors to get into their characters. Joaquin and Vanessa are able to show this Joker-Harlequin type of relationship. It is clear the two love each other. They have an obsession with each other to a level like the comic pair. But there is a level of resentment that boils underneath that is brought to life by their acting skills. It feels like a volcano waiting to erupt, but even when it ultimately does, they seemingly make up. These two have a charisma that exudes on screen that is palatable.
Despite its merits, Napoleon grapples with excessive ambition in its 157-minute runtime. While the battle scenes are impeccably detailed, the film’s pacing feels sluggish and scattered. Joaquin Phoenix and Vanessa Kirby deliver commendable performances, yet the constant tonal shifts create a disjointed viewing experience. The film’s ambitious scope, attempting to balance military strategy, romantic relationships and political intrigue, results in abrupt transitions that disrupt the audience’s emotional engagement. Rumors of a Director’s Cut with additional footage suggest a potential remedy to these issues, allowing for smoother transitions and a more cohesive narrative.
In conclusion, Napoleon earns four out of five stars for its visually stunning battle scenes, captivating performances and Ridley Scott’s directorial prowess. While it stands as one of the finest historical dramas, the film’s ambition may benefit from a more extended cut to address pacing and coherence issues, making the Director’s Cut a desirable prospect. Honestly, Napoleon may have been a better 10-part miniseries than a film, allowing more time to explore all the aspects Scott wanted to fit in.