Napoleon (2023) Review!!

Synopsis – The film takes a personal look at Napoleon Bonaparte’s origins, and his swift, ruthless climb to emperor viewed through the prism of his addictive, and often volatile, relationship with his wife and one true love, Josephine.

My Take – For his latest undertaking, veteran filmmaker Ridley Scott (Gladiator, Kingdom of Heaven) dives into presenting the life of one of history’s most influential figures, Napoleon Bonaparte. The French military commander and emperor who’s thirst for power led him to many victories and equally significant human losses.

And while a film intended to depict the life of someone who is renowned as one of history’s greatest military strategists, should presumably focus heavily on his battle strategies and accomplishments. Director Scott doesn’t seem interested in offering anything complex. His cinematic exploration, written by David Scarpa (All the Money in the World), is impressively mounted when it comes to making a grand-scale, unapologetically bloody period epic.

His attention to detail in the film’s set design, costume, and overall atmosphere authentically recreates the early 19th-century European milieu. And the film’s portrayal of key battles, political intrigues, and the societal landscape of the era are visually impressive, with some artistic liberties taken for cinematic effect. Indeed, the film has a lot going for it but unfortunately, it also has some stuff holding it back from greatness.

Mainly, while director Scott‘s 157-minute biopic dedicates some time to Napoleon’s battles and wars, it offers more of a glimpse than an in-depth examination. It doesn’t make you care about the outcomes because throughout the screenplay, you see Napoleon leading, but the purpose, the intent behind those actions, are never clear.

Yes, it succeeds in being an entertaining watch, yet it doesn’t offer you enough depth to invest your energies in it.

Probably, the director’s cut which is going to be released on Apple TV+ on a later unannounced date with a runtime of four hours and 10 minutes, would be a different story. As the theatrical version clearly needed to flesh out many parts of the film and fill in the emotional and historical blanks, because this theatrical cut moves in a breakneck speed and feels too rushed, despite catering to everything that any fan of epic film making would fall in love with.

Beginning in 1793 France, the story follows Captain Napoleon Bonaparte (Joaquin Phoenix), a young army officer who watches as Marie Antoinette (Catherine Walker), the last queen of France, is fed to the guillotine as revolution rips through the country. In a nation at war with itself, Napoleon sees an opportunity to climb the ladder to power by proving himself in battle, which arrives in the form of the Siege of Toulon, where he masterminds a surprise attack on the Anglo-Saxon fleet, successfully securing the harbor and reclaiming the town for the Republic.

Promoted to General, he soon begins rapid ascent and doesn’t stop until he becomes First Consult of the Republic and, eventually, Emperor of France. However, the greatest challenge he will face is not in facing off against any enemy, however, it is his tempestuous marriage to Joséphine (Vanessa Kirby), the love of his life and the one person who holds any power over him, and if she cannot give him an heir, then she is the person he must divorce.

For those unaware of the French Revolution, director Scott makes sure to provide you the timeline in the form of texts that appear on screen. So, don’t worry if you haven’t skimmed through your history lessons yet. The moments in the film that excel are, unsurprisingly, the battle scenes. Here, his filmmaking prowess shines, showcasing the impact of these wars and battles. The manner in which these battle scenes are filmed is executed exceptionally well, showcasing that director Scott hasn’t lost his touch in crafting visually stunning and intense sequences.

His recent go-to cinematographer, Darius Wolski, excels with his use of natural and candlelight, providing some of the few genuinely authentic touches in the film. Whether it’s capturing the cold, grey atmosphere of a battle in the dead of winter or framing simple close-up shots illuminated solely by candlelight, Wolski‘s work stands out throughout.

What really makes the film a non-exhausting watch is how director Scott cleverly shifts the gears in the screenplay, comfortably moving between Napoleon on the battlefield and then with him at home with Joséphine. It’s chaotic too, but also allows for a breathing space from testosterone-infused war visuals. The intimate moments featuring the lead create an interesting dynamic in the film, even leading to humorous moments in unexpected ways.

However, the missing broad scope of Napoleon’s political and military career undercuts the emotional depth of most of the proceedings. Providing little insight even into his tactical genius, apart from one reference to a knack for knowing where to place the canons.

While the cinematography features sweeping shots of landscapes and battlefields, the screenplay often ends up glossing over critical moments. At times, the narrative feels rushed, trying to cover too many aspects of his life, and since director Scott aims to cover pivotal moments of Napoleon’s life and career, the pacing of the film is also affected. This leads to specific historical events being superficially explored, which could have been alleviated with a more focused narrative, perhaps in a different format.

Performance wise, Joaquin Phoenix is remarkable as Napoleon. Succeeding dramatically and earning some genuine laughs by playing the character as an eccentric, socially awkward man child who finds himself only when he’s on the battlefield. He nimbly switches from ruthless ambition to moments of vulnerability and introspection, especially when paired with Vanessa Kirby as Josephine.

Kirby is magnetic and alluring throughout as someone who is able to cut Napoleon down to size outside his successful conquests around the world. In supporting roles, Tahar Rahim, Matthew Needham, Ben Miles, Ludivine Sagnier, Paul Rhys, John Hollingworth, Gavin Spokes, Ian McNeice, Youssef Kerkour, Arthur Wellesley, Edouard Philipponnat, and Rupert Everett are effective. On the whole, ‘Napoleon’ is a noteworthy historical epic that falls short of its full potential.