Napoleon is the latest historical epic from master filmmaker Ridley Scott. The biographical film centers around one of the most important figures in history, Napoleon Bonaparte – a military commander who rose to prominence during the French Revolution.

The film starts with the beheading of Marie Antoinette in 1793, with Napoleon (Joaquin Phoenix) watching from the crowd. Following his successful siege of Toulon later that year, Napoleon rapidly rose through the ranks. One legendary battle after another, his hunger for power grew, culminating in his crowning as the Emperor of the French in 1804. Amid his climb, he met the other love of his life besides France, Joséphine de Beauharnais (Vanessa Kirby), who came to occupy all his waking thoughts and became the subject in Napoleon’s many passionate letters during his wars.

First and foremost, I confess that I am not a history buff and I knew very little about Napoleon Bonaparte apart from his rise during the French Revolution, his obsession with Josephine, and his infamous defeat at Waterloo. Unfortunately, Ridley Scott’s latest biopic did not manage to further that knowledge and interest significantly. While tightly-paced and beautifully shot, the film is more a checklist of things that happened rather than a coherent narrative that plots and motivates Napoleon’s rise and fall. I find myself not understanding why certain historical events took place, not because they are confusing but because there is no explanation of the political climate or societal pressures that brewed the events. Connections between set pieces are slim, and unfortunately, by the end of the film, I came out knowing not much more about the brilliance of Napoleon the Emperor and his motivations for his climb for power than I did going into the film.

Instead of a study and introspection of Napoleon’s legacy, the film is actually more interested in Napoleon’s relationship with Joséphine. Indeed, the most compelling moments in the film are centered around the duo. As the film navigates through the difficulties and ups and downs of their relationship, we get to see the different facets of both characters. Like Toto discovering the real Wizard of Oz behind the curtains in Emerald City, we witness the bratty and whiny man-child under the emperor’s robe and the dominant and unabashed lady under the corset. The layers of the characters are magnificently portrayed and supported by brilliant performances by the two leads. Joaquin Phoenix is both powerful and repulsive as Napoleon, while Vanessa Kirby steals every scene she is in. Kirby commands the screen, much like her character dominates Napoleon behind closed doors. She is equal parts compelling, strong, vulnerable, and sexy in her portrayal of the Empress.

Scott is masterful in his direction of the various battle sequences in the film. There is a fine balance between the huge scope and the up close. The battles are cinematic and beautifully captured by cinematographer Dariusz Wolski, yet the film does not shy away from bringing the blood and violence up close and personal. The Siege of Toulon, being the first battle sequence portrayed in the film, immediately grips you with an alarming cannonball strike to a horse’s guts following a sweeping shot of the landscape.

The Battle of Austerlitz is perhaps the best directed battlefield sequence I have seen in a while. The sweeping shot of the cavalry in the snow is juxtaposed with the horrifying drownings in freezing water. The blood on snow calls to mind Steve Yedlin’s gorgeous cinematography in the Battle of Crait sequence in Star Wars: The Last Jedi, only this time it’s grittier and more gut-wrenching. The sequences are complemented by an amazing score by Martin Phipps. Rather than boisterous and triumphant, the score is melancholic and reflective, often signaling an inevitable tragedy. “Austerlitz Kyrie” and “Waterloo Requiem” are particularly standout pieces. The film’s theme tune mirrors that of Scott’s debut film The Duellists that also takes place in the Napoleonic era – both melancholic and romantic, portraying a fatal obsession over one’s own interests and passion.

All in all, Napoleon is a cinematically gorgeous film that deserves a big-screen experience. Unfortunately, the titular character lacks sufficient motivation and explanation, leaving outsiders like me indifferent about the legacy even after 157 minutes.

Author: Chia Jing Heng (andreusjh99)