Ridley Scott’s ambitious war epic, “Napoleon,” unfolds as a series of impressive battle sequences in search of a more cohesive narrative. While Scott’s directorial skill is evident, it serves a screenplay that lacks depth, failing to infuse major events in Napoleon’s life with the necessary passion and purpose. The film excels in explosive moments but falters in creating a meaningful connection between them.
The core issue lies in David Scarpa’s script, attempting to compress Napoleon Bonaparte’s (Joaquin Phoenix) life, from his ascent to power to his warmongering era and eventual death in 1821, into a single film. Starting during the French Revolution, the movie portrays Bonaparte’s political rise with a focus on his military prowess. The Siege of Toulon in 1793 stands out for its graphic detail, capturing Phoenix’s portrayal of Bonaparte’s vulnerability during a nighttime assault. However, this human touch is sporadic, as the film struggles to maintain emotional depth.
A pivotal element is the relationship between Napoleon and Josephine (Vanessa Kirby), highlighted through their letters. Despite the potential for passion, the film falls short in conveying the emotional intensity suggested by Napoleon’s words. Kirby’s portrayal of Josephine lacks depth, reducing her character to a mirror for Napoleon, and the film fails to explore the intimate aspects of their relationship.
Josephine’s supposed influence on Napoleon’s warmongering tendencies offers an opportunity for a character study, delving into the insecurities of a historical figure. Unfortunately, the film opts for a factual approach, neglecting the chance to make broader statements about leaders like Napoleon. Joaquin Phoenix delivers a restrained performance, missing opportunities to explore the complexities of Napoleon’s character.
While technically impressive, with captivating battle sequences and vivid visuals, “Napoleon” falls short of justifying its existence beyond its technical prowess. The film’s unwieldy and disjointed narrative undermines its potential impact, especially considering Scott’s penchant for bold storytelling. “Napoleon” ultimately feels smaller than expected, a surprising disappointment from a filmmaker known for grand cinematic visions.
The film is set to release in theaters on November 22nd