Ridley Scott’s new epic isn’t about Napoleon
The Paradoxical Life of Napoleon Bonaparte
There is no single historical character between the American Revolution and World War II about whom more words have been spilled than Napoleon Bonaparte.
The two-time emperor of the French, genius military commander, and cultural juggernaut has been a figure of fascination, scorn, or respect — depending on your political views. He was a paradox in many ways: conservative yet reformist, protectionist yet expansionist, and strategically patient yet temperamentally mercurial. He was a brilliant leader of men, especially on the battlefield, but could be quite demure in private. He ended the French Revolution, began to restore the church, reinvented the nobility, and, unfortunately, brought slavery back to the French Empire. At the same time, he cemented many of the progressive policies of the Revolution — retaining the emancipation of the Jews, codifying a neutral rule of law, centralizing and growing the state, and retaining national institutions like the levée en masse and the tricolor. He was a man of contradictions.
Ridley Scott’s newest historical film, “Napoleon”, is just as paradoxical as the Great Man himself. It is stunningly beautiful, rich in sound and score, and contains some of the best battle scenes in recent memory. But it also includes some of the worst dialogue in years, makes a hash of history, and dashes so rapidly through time and space that it gives viewers whiplash.
The film is not a biopic of Napoleon, nor is it a film about the Napoleonic Wars or the French Revolution. Instead, it is an intense character study of a toxic marriage between Bonaparte and his first wife, Josephine. This could be interesting, but the importance of this relationship is wildly exaggerated, and the details are pure invention. The most unforgivable failure of Scott’s epic, however, is its complete warping of Napoleon himself.
There is a lot of good in the film, but it is all superficial. The cinematography of Dariusz Wolski, a frequent Scott collaborator, is visually compelling and elevates the often-vapid writing. The scene setting is excellent, with great lighting and grand scope, something especially obvious during the battle scenes. These sections of the film are real edge-of-your-seat moments and partially make up for the dialogue. Martin Phipps’ score is wonderful and feels in sync with the on-screen action. Some of the performances stand out, specifically Vanessa Kirby’s Josephine, which is a tour-de-force. The costumes and set design are outstanding.
One minor bit of character development for Napoleon himself is also cleverly done: Over the course of the film, Napoleon’s increasing comfort with warfare is depicted by his reaction to artillery fire. At first, he covers his ears and darts around madly, but by Austerlitz and Waterloo, he is shown with ears uncovered, calmly managing his troops. This is a skillful way of building a character by showing instead of telling.
Napoleon’s personality was equally paradoxical. He was a brilliant military leader, known for his strategic acumen on the battlefield. Yet, in private, he could be surprisingly demure and reflective. His temperamental nature occasionally led to erratic decision-making, but his moments of introspection revealed a complex and nuanced individual behind the facade of a conqueror.
Another paradox embedded in Napoleon’s legacy is his stance on slavery. While he brought back slavery to the French Empire, a regrettable decision that perpetuated human suffering, he also upheld many of the progressive values of the Revolution. His actions simultaneously betrayed and preserved the principles of liberty and equality that France held dear. This contradiction underscores the complexities of his character and the challenging moral landscape of his time.
Despite his flaws and contradictions, Napoleon Bonaparte undeniably left an indelible mark on history. His military genius reshaped the face of Europe, and his political reforms laid the groundwork for modern governance. He remains one of the most studied and debated figures in history, a testament to the enduring fascination with his paradoxical life.
In conclusion, Napoleon Bonaparte defied easy categorization. A paradox in many ways, he embodied the tensions between conservatism and reform, military prowess and personal introspection, and progressive ideals and detrimental actions. Ridley Scott’s film “The Last Duel” illuminates these paradoxes, shedding light on the enigmatic figure that is Napoleon Bonaparte. His enduring legacy serves as a reminder that history is often shaped by complex and contradictory individuals.
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