Napoleon (2023) review: Phoenix on fire in Scott’s best epic yet

Certain historians down the years have viewed Napoleon Bonaparte as something of an Antichrist. This latest epic from Ridley Scott portrays him as every inch an Antihero and, thanks to Joaquin Phoenix in the title role, one we cheer on from start to finish. The last time we saw this particular director-actor collaboration was for 2000’s Gladiator. If that was hailed as King at the time, then Napoleon is most certainly the Emperor.

It’s written by David Scarpa, whom Scott hired for 2017’s All the Money in the World, and who will also pen, incidentally, next year’s Gladiator sequel. Vanessa Kirby plays Napoleon’s wife, Joséphine, with a host of recognisable faces supporting.

Be warned: in true Scott-style, Napoleon doesn’t shy away from the graphic. We are watching the bloodiest period in France’s history unfold, after all, which begins with its Revolution. Having said that, this doesn’t mean that the violence and light-heartedness that vie for our attention are mutually exclusive – why not have some fun while they’re at it? This flick is able to trivialise the gory bits whilst still delivering the shock factor, thanks to a wonderfully eclectic soundtrack and spell-binding cinematography, changing the tone on a sixpence.

This is a movie that can and does do whatever it wants, but brilliantly so and not just because. It’s difficult to argue against Phoenix now officially being one of the most talented, and certainly the most versatile actor of his generation. Johnny Cash and the Joker are arguably more intricate roles, but this epic part couldn’t have been played with such deeply human qualities by anyone else; so much so that it does make you wonder if this really is one of the greatest war leaders who ever lived, but that’s the whole point of the film in a way.

Gone is the machismo of the likes of Braveheart, The Last of the Mohicans and even Kenneth Branagh‘s Henry V. In its place is a beautifully flawed and vulnerable individual; almost representative of the 21st-century, despite being set over 200 years ago. That’s not to say strength and inspirational leadership are absent, just that they’re always wonderfully at odds with the character underneath. This means there’s always a very fine line between portrayals on and off the battlefield, which is almost impossible not to overstep every now and then.

But behind every great man there has to be a great woman, as two people once sang. Kirby’s Empress Joséphine is very much like Phoenix’s super-deluxe toilet roll Emperor: soft, strong and thoroughly watchable. The husband-and-wife power struggle that’s at the film’s core is subtle yet intense, making it the perfect foil to the brutal battle scenes. Speaking of scenes, the various English locations imitate the palatial French retreats to a tee, whilst Malta is the perfect set to represent Elba and St. Helena, the two islands where Napoleon was exiled. Just another thing that Scott and company have nailed.

As expected, it’s already stirred up the everlasting hornet’s nest of historical inaccuracies, but, as usual, how much that matters depends upon how much else the film in question gets right. Also it’s probably not wrong to say that considering how famous and influential a figure Napoleon is, there’s relatively little known about him by the general public at large, especially if you consider this is more modern history we’re dealing with. Looks like nit-picking historians can do one this time.

So as this movie looks certain to displace Kylian Mbappé as the most famous Frenchman of all-time, and make Ridley Scott rhyming slang for “hit the jackpot”, let’s rejoice in the fact that Napoleon will probably rescue 2023 from being a year in film to forget. Now that’s a mission even the man himself would have been proud of accomplishing.