Ridley Scott's war epic "Napoleon" features well-executed battle sequences but lacks a cohesive narrative. Despite Scott's craftsmanship, the screenplay fails to inject passion or purpose into the protagonist's major events. A remarkable actor's presence is diminished, while the emotional core falls flat and one-dimensional. While delivering awe-inspiring moments, "Napoleon" falters in other aspects, ultimately losing the battle.
One challenge with David Scarpa's script is trying to cover Napoleon Bonaparte's entire life in a single film. It follows his rise to power, warmongering resulting in the loss of millions of lives, and his demise in 1821. The story starts during the French Revolution as Bonaparte climbs the political ladder, prioritizing his military prowess. A standout moment is the Siege of Toulon in 1793, portrayed with vivid detail. Joaquin Phoenix, as Bonaparte, skillfully conveys his character's apprehension, giving a glimpse of a more humane portrayal that the rest of the film fails to explore. The scene captures the cannonball tearing through a horse's chest and figures engulfed in flames as they flee the harbor.
In "The Siege of Toulon," Bonaparte emerges as a heroic figure who captures the attention of Josephine (played by Vanessa Kirby), a former prisoner during the Reign of Terror. Set in 1795, the film draws heavily from the passionate letters exchanged between Napoleon and Josephine. However, the attempt to convey this intensity falls short, partly due to Kirby's struggle to capture Josephine's mysterious essence. While the film explores their relationship and its historical context, it lacks the desired emotional depth and fails to portray the passion and intensity necessary to bring "Napoleon" to life.
Josephine seemingly inspires Napoleon's confidence, shaping him into a prominent warmonger who resort to war as the solution to every problem, causing the deaths of millions. Scarpa and Scott's portrayal of the political and global landscapes in "Napoleon" disappointingly lacks depth and fails to make any statement about Napoleon or leaders like him. Phoenix's performance, though controlled, struggles to find substance beyond occasional surprising choices. By the time "Napoleon" reaches the Battle of Waterloo, we remain unfamiliar with the titular character. This is a significant issue.
Although technically impressive, "Napoleon" may only resonate with historical war epic enthusiasts. The battle sequences possess a vibrant energy, with bloodied bodies breaking through ice and soldiers charging into combat. Perhaps the underlying message is Napoleon Bonaparte finding vitality amidst death. However, Scott, Scarpa, and Phoenix could have embraced this concept further. Instead, their creation feels unwieldy and disjointed, a departure from Scott's typically underappreciated style. Regardless of your thoughts on Scott's divisive films, they are known for grand ideas and audacious endeavors. Therefore, the diminutive nature of "Napoleon" is disheartening.
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