When a filmmaker of Ridley Scott’s stature decides to adapt a historical biopic about Napoleon, the film carries a certain set of expectations; top-tier actors, opulent costumes and production design, and a predictable story spotlighting a significant historical figure.
One look at the film’s trailer would support that notion, revealing a rousing action extravaganza in line with Scott’s past films such as Gladiator, Kingdom of Heaven, and Black Hawk Down.
But it seems the 85-year-old legend has entered the no f*!ks given stage of his career. With 2021’s House of Gucci, and now Napoleon, Scott has strayed off the beaten path. Rather than use these prestige biopics to valorize iconic figures Scott has chosen to craft scathing (and often hilarious) cultural critiques.
François Truffaut famously stated it’s not possible to make an anti-war movie because their energy and sense of adventure make combat look fun. And Scott is hellbent on bringing to life a war movie that compels viewers to question why anyone would root for this film’s protagonist. It’s a bold choice, that mostly works, painting Napoleon as a woeful and pathetic egomaniac unworthy of celebration.
The film stars Joaquin Phoenix as the titular Napoleon Bonaparte, and charts the infamous French Emperor’s rise and fall. This isn’t your typical cradle-to-the-grave biopic, and we experience Napoleon’s life through the lens of his capricious relationship with “the love of his life,” Empress Josephine (Vanessa Kirby).
What makes this biopic unconventional is its treatment of the central character. Scott has no interest in hagiography and goes out of his way to subvert the usual “great man” tropes that are all too common to the genre.
David Scarpa’s script paints Napoleon in broad strokes. We spend ample time with Napoleon the historical figure, but we never really get to know Napoleon the man. We understand his hunger for power and bear witness to his petulant outbursts. As he accrues power and status, he’s compelled to attain more power and status, and it’s a vicious cycle. But we don’t get to the root of what left this man hollowed out and broken.
Phoenix is inarguably one of this generation’s great talents, and I’m always intrigued by the complex dimensions he brings to each new role. Here, he opts for a deliberate and often restrained take on the character. This Napoleon is a haggard and weary soldier who often drifts off into listless thousand-mile gazes. He’s a tactical savant on the battlefield, but in day-to-day life he’s an unsophisticated man driven by his lizard brain.
And this is where Kirby’s magnetic performance as Josephine comes into play. This sprawling epic features a cast of hundreds, but in essence, it’s a two-hander between Phoenix and Kirby. Their character’s love entanglement is the beating heart of the film. Napoleon’s pursuit of and relationship with Josephine offers us the most unfiltered glimpses of the character’s humanity.
The actors are nothing short of electric every time they share the screen, and watching the lovers bring out the worst of each other never gets old. Seeing Napoleon lose his cool is one of 2023’s great pleasures. Phoenix plays the character with the emotional restraint of a toddler and the pettiness of the only auntie who didn’t get invited to the wedding. The audience at my screening burst into laughter each time Napoleon lost his cool. These moments are as over-the-top ridiculous as an I Think You Should Leave sketch.
Scott packs decades of history into 158 minutes so the story constantly time-jumps like a Doctor Who episode. The narrative and tonal shifts from scene to scene are jarring at times, resulting in a choppy and underbaked film that never finds its groove. The time-jumping plot is difficult to follow and most of the supporting characters fail to leave an impression.
This film offers a feast for the senses, but the pacing and plot hold it back from being a must-watch. The intricate costumes, gorgeous production design, and visually jaw-dropping battle sequences are worth the cost of admission, but stretches of the film drag. Although I was never bored, this two-and-a-half-hour film made me feel like I was sitting through a three-and-a-half-hour film.
Although Napoleon looks like another entry in the long list of “great man” biopics, it’s anything but. Scott casts a searing spotlight on toxic ambition and narcissistic leaders who don’t give a damn about the people they govern.
Let me know your thoughts about Napoleon on X and in the comments below. If you enjoyed this review, please help out the site by sharing it on social media. And keep coming back to VSR for new reviews, interviews, and videos.
