Recently, Columbia Pictures and Apple Original Films, through Sony Pictures released an amazing film, Napoleon, in which Joaquin Phoenix portrayed Napoleon Bonaparte as a conceited, selfish youngster and was directed by Ridley Scott.
Review of the Napoleon Movie:
Neurobiology argues that memories are not flawless replicas of the past. These reconstructions heavily depend on our feelings at the time of our memories. Cinema, which serves as a kind of memory for the experiences of all of us, is similar in this regard.
It so happens that this is the Napoleon Bonaparte that we have chosen to inscribe in our collective memory at this particular moment in history. The movies have contained historical errors claimed by historians, but this does not justify them. Rather, it is an oath of filmmaker Ridley Scott’s ability to, in spite of its flaws, create a lasting impression on the world of film with Napoleon.
Napoleon appears to be the tale of an aspirational young soldier who climbs the ranks to become an emperor before giving in to the unquenchable desire for power. The film also provides an amazing glimpse of Napoleon’s strong personality and problematic relationships with all of the women in his life.
Every moment between Napoleon and his girlfriend, Josephine, is portrayed by Scott as being filled with passionate lust and sexual intensity. But what distinguishes it from previous depictions of these kinds of relationships between strong spouses is how it occasionally verges on delicious ridiculousness. Whether it’s the scene where Napoleon, dressed in full army costume, mumbles like a kid to ask Josephine for sex, or when the emperor and empress get into a furious quarrel over dinner and end up hurling food at each other,
It’s amazing to watch Joaquin Phoenix portray Napoleon Bonaparte as a conceited, selfish youngster. In one scenario, Napoleon goes up to a Russian official after being treated disrespectfully by the Tsar of Russia. Once he’s vented, he pauses and asks, “You think you people are better because you have ships?” One of the greatest military leaders in history has a brattish, petty side that is boldly shown in a typical biopic, which may annoy those who like high accuracy in their historical dramas.
Even though Phoenix effortlessly eats up every frame in which he appears, Vanessa Kirby manages to make an impact with a performance that eclipses everyone else’s. Josephine’s portrayal of her husband in Kirby’s portrayal is just as petty as he is, and it’s remarkable how Scott’s power dynamics with his wife seem to reflect Napoleon’s pathological fixation with power in politics. Whenever he seems arrogant or jealous, we instantly receive a piece of dialogue saying, “He is not arrogant and that he is quick to own up to his mistakes.” By using time to his advantage, Ridley Scott skillfully extracts sarcasm and silliness, creating a critique of this incredibly intriguing individual.
Even if you are not familiar with Napoleon’s background, you might still notice how the movie ignores several potentially significant aspects of the man. Napoleon, for instance, is shown as having an imposing attitude and is even referred to as a tyrant at one point, but he still wins the affection of the people.
Though he is referred to as a dictator, it is never made clear how he manages to win people over. Despite having a long running time, the movie seems to go by quickly. While some scenes lack color, intensity, and purpose, there are some powerful frames that evoke memories of Renaissance masterpieces. Ridley Scott demonstrates to us once more his mastery of photographing long-range conflict scenes.
The seasoned director offers as much different, lighthearted criticism about Napoleon as he can during the whole movie. Napoleon’s insistence on wearing his uniform everywhere he goes, his need to maintain his warrior persona, or the way his colorful bicorne dominates nearly every picture might be the easiest explanations.
Napoleon by Ridley Scott is more than simply a character study of this lovable French monarch, as one may see upon closer analysis. He just serves as a prop for Scott to illustrate how ambition and pettiness breed power. The movie demonstrates how the DNA of practically any power structure consists of both noble virtues like ambition and ridiculous, juvenile traits like pettiness. This is an interesting remark that goes somewhat beyond his character in the movie. All groups, including commoners, aristocracy, and monarchy, vie for dominance in unique ways.
Although we are captivated by Napoleon’s persistent fascination with power and legacy, we take a step back and notice that every other character is essentially the same, albeit to a much smaller degree, at some point in the film.
Napoleon is the only subject of our attention due to his passionate and endearing nature. Ridley Scott used Napoleon as a vehicle for his criticism on the ridiculousness ingrained in the power struggle, we are all enmeshed in.
