‘Napoleon’ Review: A Lumpy, Grumpy Little Man

When he was in his mid-20s and first visited the studio where he would later shoot “Citizen Kane,” Orson Welles is said to havelikened the movies to the best electric train set a boy could have. Welles is a defining inspiration for Ridley Scott, who is best known for monumentally scaled historical epics like “Gladiator” and “Kingdom of Heaven.” In these movies as well as in his latest spectacle, “Napoleon,” Scott plays, to push Welles’s metaphor further, with the biggest train sets conceivable — giant, beautiful, gleaming machines that can, by turns, transport and overwhelm you. He’s a heavy metal guy.

“Napoleon” is a very big movie, as you would expect given that it follows its title subject from the bloody delirium of the French Revolution to battlefields across Europe, Africa and, catastrophically, into Russia. More startling, though, is that the movie is also often eccentric and at times eccentrically funny. You expect refined craft and technique from Scott and the pleasures of spectacle filmmaking at its most expansive. You expect heft, seriousness, not snort-out-loud humor, which I guess explains why, while watching the movie, I flashed on Karl Marx’s axiom about history being first tragedy and then farce.

It opens in Paris amid that convulsion of violence called the Terror, with surging, shouting crowds and the metallic hiss of the falling guillotine blade. Aristocrats are losing their heads (Scott re-creates one execution with gory verisimilitude), and Napoleon Bonaparte — a mesmerizing, off-kilter, lumpish Joaquin Phoenix — will soon profit from the chaos. Before long, the story has jumped forward and now Napoleon is in the southern French port city of Toulon, where he strategically routs the Anglo-Spanish fleet that has taken the city.

Scott establishes Napoleon’s early rise to power with bold imagery and brusque narrative economy, vividly setting the historical moment with scenes from both inside the corridors of revolutionary power — enter Robespierre — and the surging anarchy out in the streets. Napoleon’s rise at this point is largely facilitated by the politician Paul Barras (Tahar Rahim), a silky operator with the pacific mien of a patiently lurking predator and an inescapable aristocratic hauteur. Everyone addresses one another as Citizen, which, in Barras’s case comes across as the 18th-century version of performative political correctness. Together, Barras and Napoleon consolidate their positions. Exit Robespierre.

Joséphine (a fine Vanessa Kirby) makes her entrance soon after, catching Napoleon’s notice (her décolletage helps) and ushering in the story’s second plotline. A widow whose husband lost his head during the Terror, Joséphine has been recently released from prison, an ordeal that has left her with short, choppy hair and a very keen sense of self-preservation. It’s not at all clear what she actually sees in Napoleon, other than his uniform, growing reputation and obvious interest in her. She’s (relatively) poor for a society woman and has children, so desperation plays a role, though the movie suggests that what Joséphine truly sees is power.

After Joséphine appears, the movie soon bifurcates into two lines of action, one involving Napoleon’s military campaigns, and the other the couple’s relationship. This kind of dual plot structure is a familiar template of old Hollywood that features two entwined strands —involving adventure andromance — that together bring everything to a close. What’s unusual here is how separate the lines of action remain in “Napoleon” and how they don’t as much interconnect as run on parallel tracks. When he’s not facing off against the Austrians, the British and the Russians, Napoleon is struggling with Joséphine, who vexes him almost as much as the Duke of Wellington (an amusing Rupert Everett).

Written by David Scarpa, the movie tracks Napoleon’s relentless rise to despotic power — he crowns himself emperor — amid political intrigues, bloody battlefields and some occasional hasty rutting with Joséphine, who invariably cuts him down to size. He’s a little man, you are regularly reminded, and his relationship with Joséphine (who soon and understandably takes a lover) makes him smaller. Periodic bits of text function as de facto chapter headings, grounding the story’s chronology and announcing the next conflagration. Historical figures come and go (Paul Rhys plays Talleyrand), but for the most part the movie slides over the complexities of both the revolution and Napoleon’s reign as well as the reasons France has been swept up in endless battles on so many fronts.

The war scenes are extraordinary, vigorous, harrowing and rightly grotesque. The tremendous scale of some of these battles helps give them their visceral power, as does Scott’s complex staging and use of masses of human actors and horses. With cannon blasts, bursts of smoke and the sights and sounds of armies of men thundering over fields toward their deaths, he conveys the frenzy of war, its heat and terror. As the fighting grimly continues, and the body count mounts, the absolute waste of it all becomes overwhelming, which is, I imagine, why Scott seems so uninterested in Napoleon’s vaunted military genius.

“Napoleon” is consistently surprising partly because it doesn’t conform to the conventions of mainstream historical epics, which is especially true of its startling, adamantly unromanticized title character. (The movie also doesn’t always conform to the historical record, and some may take issue with the portrayal of the Battle of Austerlitz.) In the early scenes, Napoleon seems to be another of Phoenix’s taciturn, unnervingly volatile, enigmatically damaged, violent men. The difference is that this Napoleon, with his bloat, scowls and consuming needs, often resembles nothing as much as an angrily petulant baby, one whose cruelty and pathological vanity make the horror he unleashes unnervingly familiar.

Rated R for intense scenes of war. Running time: 2 hours 38 minutes. In theaters.

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