Ridley Scott (‘Gladiator’, ‘Prometheus’) provides us with ‘Napoleon‘possibility of seeing A film, a show that is out of time, that does not belong to this period. Taking part in a production of this nature, with these (excessive) ambitions and dimensions is an admirable stubbornness on the part of the director and an exotic experience for the audience today. Scott’s film about the figure of Napoleon is interesting for this reason alone, because he is unconventional and unyielding. But that’s not its only appeal.
It is an important condition to understand it. a free approach to character, Without demanding the sensitivity and historical rigor that Scott set out to handle. It’s the best way to enjoy his disgusting and hallucinatory portrait of Napoleon Joaquin Phoenixhe shines especially when he explores the character’s most peculiarly childish and selfish dimension.
And to face the story of the relationship between the protagonist and Josefina (Vanessa Kirby, impressive), which has tremendous and very exciting aspects: Toxicity, addiction, such a weird way to understand attachment and commitment. But aside from the issues to focus on, Napoleon’s real advantage is the spectacular battle scenes. In times of bad digital re-releases, it’s a pleasure to think of such well-conceived, beautifully choreographed sequences. generous and strong.