Napoleon review: bloody, epic and too short

Napoleon was destined to become one of the greatest films of late 2023. Winner Ridley Scott reunited with Joaquin Phoenixwith whom he had already worked in Gladiator. Together they returned to a similar genre – historical-epic drama. The ambitious plan is to bring the entire life of one of the most important characters in human history to the big screen. A macro project with which Apple TV+ once again gave its all to further gain prestige in the industry.

The tape starts with Napoleon Bonaparte experiencing the final blows of the French Revolution. In a country that is constantly changing, with political uprisings, angry citizens and the guillotine, this little military strategist wants to rise to the top. Fully confident in himself, he finds a niche and a name for himself until he eventually conquers half of Europe and proclaims himself Emperor. Their exploits – or crimes, depending on the viewer’s perspective – appear in every history textbook and are taught in every school and university on the planet.

Scissors Napoleon

In recent months Ridley Scott repeatedly insisted that Napoleon What the public will see in theaters is not exactly the film he intended. As with almost any project, the studio has the final say on the final build. And the director wanted to release a version of the film lasting more than 4 hours, but Manzana He left after 2 hours and 40 minutes. That is, what can be seen in cinemas is approximately half of the story that the director wanted to tell.

In many cases, these cuts end up saving films from being overly long, which could cause antagonism among audiences. But this time he played completely against Napoleon. Especially in the first hour and a half, the film is a collection of isolated scenes and episodes, independent of each other. They are all interesting in themselves, of course, life Bonaparte It is what it is. But the common thread is very blurred. Yes, the rise of the general and his ambitions to develop new territories are shown. Also his complicated relationship with Josephine. But the film has no central narrative.

Everything happens in front of the viewer, who will enjoy it, especially if he is a history buff. However, the work in the editing room is too visible. The problem may be with the idea of ​​the film itself. Wanting to embrace something as dense and prolific as a figure Napoleon Bonaparte From start to finish, it requires a titanic squeezing force. And to do it well, you need more shooting time than you’ve been given. Scott. After all, the rhythm is as fast as it is irregular. The opportunity to empathize with the characters is not provided as much as we would like. There is also an unexpected comic aftertaste in many moments, which, when triggered, lightens and gives softness. But when he doesn’t, it takes him out of the movie.

True, all the chaos is smoothed out in the final act. The film feels much calmer and more patient, cementing the character’s decline much better. The ending is more balanced and allows you to savor it with pleasure. The key is to keep a film this long from becoming heavy. Development in recent years Napoleon This is not a bad thing and makes up for the clumsy and hasty initial approach to his rise to power.

Epic and no judgment

To lighten the heavy brush in history caused by editing, Rydie Scott It has the best virtue – epic. He’s 85 years old and still the director who does it best and easiest in the industry. The film can last half an hour with scenes about Napoleon in Paris or elsewhere, busy with his public and private affairs. But it comes to the battlefield, and everything takes on a new meaning. The film takes it up a notch and becomes a brutal spectacle full of action, tension, death and blood. Ideal for viewing on a big screen.

Hand in hand with meticulous design, a huge soundtrack and unique camera work. Scott creates wildly entertaining episodes. See Napoleon Planning a strategy while anticipating your opponents’ moves is extremely fun. The director doesn’t lose his magic to execute such scenes gracefully. The only shame is that there are no more fights, since the director had a unique catalog to choose from.

Also, there is something very interesting about Napoleon and that’s his point of view. This is a historical figure whose perception varies greatly depending on who you ask. Therefore, to avoid misunderstandings, Scott He decides to watch him from the side. He looks at him with equal detachment in his greatest successes and in his most despicable moments. This is a character with a very complex shell, and the director does not need to make him too porous. There is no intention to glorify him, which is what some of the public feared. Nor does it overly satirize him, although it humanizes him and has no problem showing him at his worst.

Only in some intimate scenes with Josephine – and not all of them – the character is left naked, vulnerable, so that the viewer can truly see him. There are probably more of these moments in the director’s cut, but in this version we see a proud, cold, formidable man, at times admirable, and at times disgusting and pathetic. Again, the script cannot present his actions without clearly revealing the reasons that lead him to act in such a way. His thirst for conquest is openly appreciated, but why is not explained.

Josephine and the Comedy of the Phoenix

I really wanted to see Joaquin Phoenix V Napoleon. Oscar-winning translator joker He again headed a project of enormous scale. And he lives up to it, mainly because he’s a great actor in unflinching form. His Bonaparte He is a stoic and serious man, and he does this by adding subtle nuances to every scene. The problem is that the character is conceived in the script as a person who is not very expressive. This reduces its power to shine brighter. It’s a great performance in terms of restraint, but it’s not as enthusiastic or visceral as one might expect.

Colleague is Josephine Beauharnais from Vanessa Kirby. Scott warned that he wanted to give great importance to his wife in this story Napoleon. The decision is very correct and the choice of actress is the key moment for the film. His human drama is much deeper and more coherent than that of the Emperor. Constructing his story will be a separate project. In a film so far from what is being told, Kirby It tears at all the seams with eyes full of sadness, melancholy and inadequacy. Excellent work by the translator on a brilliant re-reading Scott.

Generally, Napoleon This is a great film that will strive to become a totem thanks to the director’s editing. The theatrical version exudes spectacle and epicness in its bloody battles, but gets lost in the disjointed ellipses of a drama that fails to clearly present its protagonist’s motivations. The result is very enjoyable, although its irregular pacing makes it fall far short of the magnum opus of historical cinema it could have been. Anyway, Ridley Scott expands his legend once again with a very notable film. The director once again did not disappoint.