Review: Napoleon (2023)
Ridley Scott’s Napoleon starts off in 1793 amidst the Revolution as we see a youthful general from Corsica in the crowd. As Marie Antoinette is guillotined, we see jubilation all around. But Napolean doesn't partake in this, and this is where we get a first glimpse of his greater purpose - the future of France. The film establishes this from the get-go and does not stray away, right till the very end. The film traces his rise to power, while also examining his relationship with his wife, Josephine.
A still from Napoleon.
What I loved about the film is the dual plot structure it follows. After Josephine’s arrival, the movie bifurcates into two lines of action - one, Napoleon’s military conquests, and the second, the couple’s relationship. This kind of dual plot structure is a familiar template of old Hollywood that features two entwined strands — involving adventure and romance — that together bring everything to a close. However, running parallel on different tracks, these plots don’t intertwine, however I wish they had.
The film has stunning cinematography. The war scenes are extraordinary, vigorous, harrowing and correctly grotesque. The tremendous scale of some of these battles helps give them their visceral power, as does Scott’s complex staging. DOP Dariusz Wolski and his framing techniques especially during the battle scenes, is exemplary. Along with stellar VFX , and production design by Arthur Max, you are definitely transported into the world of France during that time.
While we see a youthful man empty for power who would do anything in his way for the glory of France, we see a human side of him as well. His love letters which are said to Josephine through voice over makes us feel for the general. (Similar to Spike Jone’s Her ?).
However, in an attempt to add humour to the story, Scott misses out of the gravity of the situation. A French general talking fluent English, and comparing his army less worthy than the British just because they have ships didn’t quite work.
Vanessa Kirby as Josephine is simply used as a prop to satisfy the sexual desire of Napoleon and is not given much of an arc.
Vanessa Kirby as Josephine is simply used as a prop to satisfy the sexual desire of Napoleon while he leads the country forward. Although a major part of the film deals with Napoleon’s love story with her through hand-written letters, she is not given much of an arc. Also, her children from her previous marriage which we are first introduced to in the beginning of the film slowly disappear into the abyss leaving you wondering as to what happened to them after their mother became the Empress of France.
While thorough research is required on creating a historical film, especially of this context, makers are often questioning the facts in history. For instance, I had always remembered Napoleon Bonaparte as a short tempered, angry young short man in my history books. But Scott’s Napoleon is more humanised, more jovial, and more enjoyable!
