Ridley Scott Screws the Pooch
I saw Ridey-Scott’s Napoleon on Thanksgiving. I am not thankful.
The film has been savaged by numerous reviewers, so perhaps it is gratuitous for me to put the boot in, but I figure I have to get my money’s worth somehow.
I went in ready to grant liberal artistic license and overlook some historical inaccuracies. For instance, yeah Napoleon didn’t shoot cannon at the Pyramids of Giza, but whatever.
But the movie definitely violated the terms of its license in ways that are grossly misleading. For example, Napoleon was a spectator of the Battle of Waterloo–when he wasn’t taking a nap, that is–and fled after watching “la Garde recule” and the Prussians crushing his right flank. He definitely did NOT lead a cavalry charge–especially given that he might well have been suffering from hemorrhoids at this climactic moment of his military career. Depicting him doing so gives an extremely distorted picture of Napoleon the man and the historical figure. (Napoleon’s departures from his armies in Egypt, Russia, Germany–after Leipzig–and Waterloo were the subject of criticism, but the film only mentions the criticism regarding Egypt.)
This is not a minor rewriting of history.
The battle scenes were painful to watch because of their comic book unrealism. My groaning began at the very outset. Napoleon’s attack on the British at Toulon was nothing like the actual thing. He didn’t assault a masonry fortress (which I think was depicted by the Vauban fort at Collioure, one of my favorite places): he assaulted earthen fortifications. His leadership there was valiant, widely admired, and oft remarked upon: in Ridley-Scott’s version he was just part of the crowd.
And speaking of earthworks, the French at Austerlitz and the British at Waterloo didn’t have them, let alone trenches festooned with fraise.
Yeah, I get that it is hard to depict on the screen the surprise that Napoleon pulled at Austerlitz by abandoning then assaulting the Pratzen Heights, but to convey surprise by having French cannoneers hide under white tarps pulled over their (non-existent in reality) trenches is just silly. Better to describe Napoleon’s tactical coup through dialog.
I could go on dissecting the battle scenes, but will leave it at that.
These failings are minor compared to fundamental problems in plot and character development.
Most notably, the real Napoleon was amazingly charismatic, and that never comes through in the film. Not only is Joaquin Phoenix too old by far to play anyone but the dying Napoleon, his Bonaparte comes off as something of a loser closer to the shlub living with mom in The Joker than a world striding colossus. Who would follow this guy to the concessions stand, let alone into the frozen wastes of Russia? Maybe a more accurate depiction of Toulon, or a scene of Napoleon at the Bridge of Lodi, would have helped convey why Napoleon could move armies and nations.
For understandable reasons–not least that it is easier to portray inter-personal dramas than sweeping historical events like epic battles–a good deal of the plot revolves around Napoleon and Josephine. We know that Napoleon was smitten by her, and often acted like an idiot about her especially in his absence, but Napoleon Dynamite seems like a manly chick magnet in comparison to Phoenix’s Napoleon Bonaparte the lover. And the depiction of Josephine also makes one wonder what Napoleon–and the many other men in her life–and I do mean many!–saw in her.
As another illustration of Ridley-Scott’s fundamental distortions of history that goes well beyond justifiable artistic license, in the film’s telling Napoleon leaves Elba because he reads in the newspaper that Josephine was canoodling with Tsar Alexander. FFS. (His departure from Egypt was also supposedly in response to being informed of Josephine’s infidelity.)
Napoleon thought much more above the neck than below the waist. This film would have you believe otherwise.
Casting was uniformly odd. The character playing Robespierre, for example, would have been better suited as Danton :P. (That said, the scene in which Robespierre was accosted and shot himself–unsuccessfully–was one of the better ones in the movie. Another was the assault of the Council of Five Hundred on Napoleon’s person during the Brumaire coup.)
Another minor but repeated and therefore annoying irritation was the atmospherics. The weather in most scenes was depicted as cold, cloudy, and/or rainy: scenes in sunny places (like Egypt or at Tilsit) take place largely in tents. You would think that France was Ridley-Scott’s native Yorkshire. He has said that the dreary, ever-raining atmospherics of Blade Runner were inspired by memories of his Yorkshire childhood. So I guess in Napoleon he gave us have Blade Runner meets Bonaparte.
But maybe that’s the point. Maybe Ridley-Scott is trying to say that Napoleon’s world was dystopian. There are certainly many–and have been since he exploded on the world stage–who believe that Napoleon led the world to perdition, and that is a valid stance for Ridley-Scott to take. But it begs the questions of what drove him to it, and why people followed him to the dystopia to which he led them. Ridley-Scott and Joaquin Phoenix provide no answers.
All of these liberties–to characterize them kindly–could be excused if they were taken in the cause of conveying fundamental truths. But they do the exact opposite. They give us an inverted Napoleon.
Successful biopics, like say Lincoln or Patton, succeed in this despite departures from the literal truth. Yes, Ridley-Scott made a daring choice of attempting to cover virtually the entire sweep of one of the most eventful lives in recorded history, and one that spanned more than two decades, unlike Lincoln which focused on a few months or Patton which covered barely three years. But that choice means that he had to be all the more precise and creative in his choice of how to convey accurately Napoleon’s personality and conduct. By choosing dramatic devices that uniformly deceive and distort, Ridley-Scott fails his audience, and fails the history he claims he wants to portray.




