Napoleon is a figure that has captivated the minds of some of the world’s greatest thinkers. However, though his story was adapted in the silent era, few contemporary directors have attempted the uphill battle of adapting his story. Even Stanley Kubrick eventually baulked at the idea of making a film about the little corporal after conducting years of research. After crafting historical epics such as Gladiator and Kingdom of Heaven, legendary director Ridley Scott makes his return to the genre to tackle one of history’s most fascinating figures. The filmmaker delivers a unique take on the French emperor that puts emphasis on his relationship with Empress Joséphine. Beginning with the beheading of Marie Antoinette, the film charts Napoleon from a military officer who conquered nations, before his eventual downfall.
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The trailers have made note of the sweeping battle sequences that have become a staple of Scott’s earlier work. However, it’s something of a pleasant surprise that this is not the main focus of the film. This is less about Napoleon the military leader, but a dramatisation of a flawed, unsavoury man whose own personal insecurities led to immense global destruction. Napoleon has been called one of the most significant individuals in history (second only to Jesus according to a Guardian study). A figure that has been scrutinised but also overly glamorised in some circles. Scott and writer David Scarpa have taken clear note, delivering an unflattering portrait. What is most fascinating is the utter contempt that they both have for the titular character. He is sexually incompetent and a brooding violent narcissist whose actions ultimately left him completely isolated and alone. The most empathy we get from him is the nervous energy in his eyes, as he fights in one of his first battles near the beginning. Their depiction of Napoleon almost embodies the worst features of egotistical masculinity. This was not an admirable man, but one whose actions left nations in flames.
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This seems to be why Scott has cast Phoenix in the role. Phoenix has the edgy, dishevelled qualities of a 1970s leading man (think a young Jack Nicholson or Robert De Niro). The actor excels at playing roles that require him to find depth in morally objectionable characters. At first, one can be a little caught off guard, given the image that has been cultivated for Napoleon. However, for the most part, it's an understated and emotionally reserved performance, far removed from the domineering figure that previous film and TV versions have depicted Napoleon as. Phoenix occasionally shows the unhinged mannerisms, that have appeared in films such as Joker and The Master. At times, his performance is hilarious, but the actor never loses sight of the cowardly nature of Bonaparte.
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While Phoenix provides the face of the cold fragile male ego, it's Vanessa Kirby as Empress Joséphine who gives the film its core. Like her husband, she has her own flaws, but it's her feminine, almost maternal nature that gave Napoleon his greatest victories. At least, this is what Scott seems to think. Kirby perfectly balances the cutthroat, almost domineering presence of Joséphine, with the internal struggle of a woman who has little affection for her husband. 'You want to be great, but you are nothing without me,’ Joséphine tells him. Despite its title, it would be just as apt to call the film ‘Napoleon and Joséphine’ given her prominence. The French conqueror may be well known for his military victories and defeats, but these are all simply an extension of his relationship with the Empress. At the start of the film, Napoleon is an anxious, shaky individual. Once Joséphine comes in, he becomes the great military conqueror, despite the affairs that enveloped much of their time together. Once he loses her, the French conqueror falls apart, his masculine edge in shreds.
Based purely on the trailers and the clips, there has been some commotion on the historical liberties that have been taken with the battle sequences. Scott’s response to this has been ‘get a life’. Napoleon experts might take issues with the liberties, but the battle sequences are truly breathtaking. The two most prominent battles featured in the film are the Battle of Austerlitz and the Battle of Waterloo. Like the film’s depiction of its protagonist, these sequences are unglamourised. The violence is brutal, feeling more like Saving Private Ryan than classic ‘swords and sandals’ type biopics. Even Austerlitz, one of the most significant victories of Napoleon’s military career is less depicted as a triumph and more a barbaric onslaught of the grandest nature. And Waterloo feels like a final nail in the coffin for the ‘great man’.
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Napoleon is not entirely without flaws. Occasional scenes of French diplomacy can feel a little dry at certain points. Scott and Scarpa are really focused on Napoleon and Joséphine, which means the supporting cast largely takes a backseat as well, bar a wonderful extended cameo from Rupert Everett as the Duke of Wellington. The film also suffers occasionally from some wonky CGI and some murky visuals.
Filmgoers who have watched the trailers might be disappointed that Napoleon is not Gladiator with a bicorne. Ultimately, what the film demonstrates perfectly is that more directors need to have more contempt for their subject matter. It makes for a refreshing take on an individual that has been analysed and glorified to death. Joséphine and Napoleon remains one of the most fascinating constructions of a historical relationship in recent memory, and it makes the film feel fresh in the onslaught of historical adaptations. They do say behind a great man is a great woman. Maybe that applies to the bad men as well.
Napoleon releases in cinemas 22 November
