‘Napoleon’ movie review: Historical postcards from Ridley Scott

 

Despite stunning performances by Joaquin Phoenix and Vanessa Kirby — and Dariusz Wolski’s stunning frames — Napoleon remains a gorgeous cipher in Ridley Scott’s biopic

Every frame of Ridley Scott’s Napoleon is reminiscent of the great masters. There is the warmth and jewel tones that grab the eye and keep it, whether it is the six magnificently-mounted battle sequences, or the quieter, intimate scenes, or the riotous scenes of the Reign of Terror. Scott’s long time collaborator Dariusz Wolski’s (Prometheus, The Counselor, Exodus: Gods and Kings, The Martian, Alien: Covenant, All the Money in the World, The Last Duel, and House of Gucci) frames are bonafide works of art.

There is a lot to love in this bio-pic, but (there always seems to be one!) there is an underlying frustration at opportunities lost in all the glamour and eye candy. If Scott set out to create a hagiographic portrait of Napoleon, why is there no mention of the French general and ruler’s administrative reforms? His audacious military campaigns, which are still studied in war colleges, are presented as luck and not planning — maybe as a tri-cornered hat-tip to his preference for lucky rather than smart generals.  

And if one was looking for a nuanced retelling of Napoleon’s life, one is bound to be disappointed as apart from the end credits mentioning the cost of life in all his military campaigns, there is no mention of his draconian policies with respect to his detractors, the conquered countries, the reintroduction of slavery, and other unpalatable things.

Opening with Marie-Antoinette’s (Catherine Walker) terrifying walk to the gallows and her shocking beheading, under the watchful gaze of Napoleon Bonaparte (Joaquin Phoenix) an ambitious Corsican soldier, the film moves quickly to his first military success at the Siege of Toulon. From the moment he sees the aristocratic widow, Joséphine (Vanessa Kirby), he is smitten. He woos her and they marry.