'Napoleon's Movie Review: The Joaquin Phoenix movie entertains, but it doesn't have much depth.

 

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Napoleon recently had the pleasure of viewing the latest Joaquin Phoenix movie, and while the experience was undoubtedly entertaining, the film left much to be desired in terms of depth. Phoenix's performance, as expected, was stellar, but the narrative seemed to skim the surface, failing to plunge into the profound layers that could have elevated the movie to a more meaningful level.

In Scott’s biopic, you meet Napoleon Bonaparte in 1789, as a second-in-command military commander, who was aware of his strength. He is an egoist; power-hungry with an almost ‘calm-in-the-storm’ kind of demeanor, which makes him so lethal. Scott's 160-minute biopic of the French military commander and ruler is filled with cinematic moments of well-choreographed battle and war scenes, with enough gory scenes in it to make you flinch

Whatever insecurities the “Corsican thug” who would rise to become the Emperor of France seems to wear like a second skin are the workings of Joaquin Phoenix, in another fine performance by the actor. And a lot of that has to do with his relationship with his beloved Josephine, played to equally impressive effect by Vanessa Kirby. Theirs is a love story for the ages, and so is the tumultuous union Phoenix and Kirby have here – lined with the lingering tension between them, of he loves her more than she ever will, and she with her higher social standing (despite her destitute widow status) always a little condescending about his hunger for more.

Phoenix's performance as Napoleon becomes a focal point, described as exuberantly self-indulgent and verging on caricature. The tone oscillates violently from scene to scene, leaving viewers uncertain whether to empathize with or mock the protagonist. Scott's satirical undertones, while by design, struggle to find cohesion within the larger narrative, leaving the audience to grapple with the abrupt shifts in tone. The film's humor, intended to serve as a subversive element, often feels misplaced and disconnected from the broader historical context.

However, as captivating as Phoenix's performance was, it couldn't fully compensate for the film's lack of depth in storytelling. The narrative, while engaging, seemed to follow a somewhat predictable trajectory, with moments of tension and resolution that felt formulaic. The plot's simplicity became apparent as the film progressed, leaving the audience craving a more intricate exploration of the characters and their motivations.

Moreover, the thematic elements introduced in the movie lacked the exploration they deserved. While there were glimpses of thought-provoking concepts, the film hesitated to delve into them with the necessary depth. Whether it was the examination of the human condition, the complexities of relationships, or the exploration of societal issues, the movie seemed to touch on these themes without fully committing to their exploration.

The visual and auditory aspects of the film were commendable, contributing to its overall entertainment value. The cinematography captured the essence of each scene with precision, and the soundtrack complemented the emotional beats of the story effectively. However, these technical achievements, while enhancing the film's entertainment factor, could not compensate for the narrative's lack of substantive exploration.

It’s never easy to decide what to leave out of a biopic, and here Scott covers just too much territory, from the first battle of Toulon to Napoleon’s historic Egypt conquest to his battle-of-the-wits encounters with different royalties which are only too keen to swat aside the ambitious upstart from France, to of course the battle of waterloo. 

Napoleon is never more petulant when he demands absolute fidelity from Josephine, or credible in his yearning for her even after the relationship has ended. Inscrutable for the most part, Phoenix’s Napoleon gives himself away when he first sets eyes on Josephine.