Napoleon review: Scott and Phoenix Make For A Solid Reunion

Director Ridley Scott and veteran actor Joaquin Phoenix reunite for the first time since Gladiator and the result is nothing short of amazing….even if there’s a few historical qualms.

Napoleon

Directed by Ridley Scott
Starring Joaquin Phoenix, Vanessa Kirby

Runtime: 2 hours, 37 mins (Theatrical Cut)

Synopsis

Based on the French general and eventual emperor, Napoleon (Phoenix) showcases the rise and fall of the famed military tactician while also exploring the dynamic between him and his wife Joséphine (Kirby), and the inner working of post-Revolution France.

Ridley Scott and Joaquin Phoenix Reunited

This is the first time since Gladiator (2000) that Scott and Phoenix have worked together and once you see Napoleon, you’ll wonder what took them so long. They are both pinnacles in their respective elements of filmmaking and while not all of Scott’s projects post-Gladiator may have fit (I can’t imagine Phoenix as a hard-nosed detective in the 2007 film American Gangster, for example), surely they could have found any excuse to work together again sooner.

Phoenix has repeatedly shown his ability to dive into a character and make it feel well-worn, like he’s been that person for years. He portrays Napoleon as a man that’s uncomfortable with the statuses and hierarchies he has to navigate, but still has a drive and desire to accomplish something grand. It creates an uneasiness between himself and the other characters which showcases how they are unable to truly connect to the military leader, like there’s always some wall of emotion.

Scott is able to put Phoenix as Napoleon in great situations to succeed, striking a balance between his solo work, his interactions with Joséphine (Kirby), other political elite within France, or as he debates and maneuvers with various world leaders. It allows the character to be seen through a multitude of lights, some incredibly dark while others are very light-hearted.

When the film is being light-hearted, there’s a fantastic rant by Phoenix as he’s negotiating with an English ambassador that had my theater laughing. I won’t spoil the line, but I have no idea if Napoleon actually said that (and given Scott’s comments this week, I think this one-liner was likely a fabrication). However, it serves as a great opportunity to show where the character is failing due to his lack of elitism. Being Corsican (coming from the island and dialect of Corsica), he’s not seen in the same elite status by others – even inside France – which affects his social mobility and definitely impacts him as he gains more and more power.

When it shifts to his darker moments, it’s clear the film isn’t setting up Napoleon as a sympathetic character. There’s no somber heart strings being pulled by the score, Scott doesn’t play up any moment to show us how compassionate or misunderstood the character is. The scenes play off as more callous and removed from the fray to let them play out, showing us various reactions to what’s occurring. As much as Napoleon’s brilliance is on display, his ego and failures are as well.

That doesn’t mean it’s a perfect reunion or blend by any means.

Sometimes in the search for a balanced viewpoint, some ideas are left on the cutting room floor. When addressing the core issue between Napoleon and other world leaders, particularly Russia and England, many of those scenes happen so late into the process that they are nothing more than caricatures of those figures. They serve their purpose as foils to Napoleon, but they fail at striking into the deeper elitism themes. Scott is clearly interested in telling you these themes exist, but doesn’t seem interested in actually exploring them. Yes, it likely would have made the film longer, but also means it can be hard to know what Scott actually wants us to take away from this jaunt through France.

It additionally creates a somewhat confusing tone throughout the film. When Napoleon becomes emperor, that moment has some gravitas because of the staging by Scott and Phoenix’s performance, but it’s become so detached from what’s happening in France at the time (Post-French Revolution fighting for power) that the weight of his decision and power grab doesn’t feel like such a betrayal of revolutionary, non-monarchial ideals.

Joséphine and Napoleon

A huge core of the film – and the moments that everyone will likely be discussing after their viewing – is how Napoleon and Joséphine interacted, the nature of their relationship. Kirby and Phoenix are incredibly well-matched, though they aren’t displaying textbook romantic chemistry. Their relationship dynamic is a bizarre one, where they both have desires for power, but at times the narrative sidetracks Kirby just when it seems like the pair should be working together on gaining social status and advancement. Scott will cut a scene short, shifting to another that feels somewhat connected, yet has a different energy than what we just witnessed. For example, Napoleon comes back to France upset that his wife has been sleeping around. In one scene, we see Napoleon displaying textbook jealous and anger, ready to throw Joséphine out. Shifting just a scene later, Joséphine has him eating out of the palm of her hand, only to have that shift again moments later to a sort of emotional stalemate between the two.

I am not a historical major and if this back and forth is exactly how it happened, then so be it. The effect on the narrative, though, is palpable when it doesn’t work. There are the few moments when it succeeds – especially when Josephine is unable to bear him a child, leading to conflict in their marriage and eventual divorce. Even in these moments, I found myself confused with how disjointed some of those moments were under Scott’s direction and/or editing choices that lessened the impact he may have wanted.

One Battle That Sticks Out

Scott is no stranger to creating gruesome battle scenes, as evidenced by his moments in Gladiator, and Robin Hood (2010). The battles are so well-constructed and paced that the audience is able to understand what’s taking place. With Napoleon, Scott has to move quickly to get through the timeline so this film doesn’t last 4 hours covering each conflict. In doing so, there’s never an experience that last too long or drags as he keeps a considerable energy through each. There’s a danger that some of the scenes won’t stand out, but this is where Scott’s expertise shines through as he can drop us into the fray with enough context – or build up from scenes before – that we grasp the stakes and the combatants even if there might be facets we’d love to see fleshed out more.

The Battle of Austerlitz in particular should rank favorably with Scott’s depictions in Gladiator for how well-executed the movements are and how an overwhelming sense of dread washes over you. Even if you know what’s going to happen, either from history or by seeing the trailer, it doesn’t lessen the impact as soldiers meet a grizzly and dispassionate end as they plunge through the ice. This battle utilizes a great blend between practical and digital effects and praise should be given to the team that weaved these elements together seamlessly. At a time when CGI artists are being lambasted left and right for poor results created by studio’s insane operating timelines, I want to champion moments when it comes together very well.

Conclusion / Recommendation

Scott and Phoenix reunite to create an interpretation of Napoleon that may upset a few historians, but will likely leave audiences with a fascinating opportunity to think about an often revered but flawed leader in world history. Phoenix’s has solid chemistry with Kirby and supporting characters, make the film mostly a knockout but certain editing and tonal choices hold back its masterpiece potential.

While it appears to be releasing on Apple TV in a month, this film was made with the big screen in mind. If you are craving seeing a historical battle take place on the big screen – and we’ve been pretty starved for that type of content – this film will certainly scratch that itch and then some.

Score: 8 out of 10

Bonus: Director’s Cut?

There is a reportedly longer cut of this film, ringing in at 4 hours, that will release on Apple TV though we haven’t heard when that release will be. It’s possible that my feelings about some of Scott’s editing choices and lack of exploration are a reflection from the condensing which wouldn’t be surprising if you know the history of Scott and *cough* director cuts.

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