How should we evaluate the film “Napoleon” directed by Ridley Scott?

At the end of the film “Napoleon”, the final words of Napoleon Bonaparte, the former Emperor of the First French Empire, are displayed in subtitles: “France... Army... Josephine...” These words represent what Napoleon cared about the most in his life - his country, his war achievements, and his wife. This would be the right way to appreciate the film “Napoleon”.

Ridley Scott, one of the few master directors still active in Hollywood, has presented us with a very typical yet unique epic film. It is typical in terms of being a grand production with a heavy texture, while the uniqueness lies in two aspects:

Firstly, in an era dominated by over entertainment and fast-paced films, the historical epic style of this film stands out, as if Napoleon himself is reversing the Republic and returning to the imperial throne. However, whether this “reversal” is acceptable depends on who is leading it. If it is someone like Napoleon, there is no problem; everyone will accept it, and those who don't will be defeated. Similarly, under these circumstances, making an epic film is not a problem for Ridley Scott.

Secondly, the film is not a traditional serious epic, but rather has a unique perspective. For example, we could entitle the film in “Napoleon’s Dramatic Tale”, “The Epic of the French Emperor” or “The Legend of the Artillery”.

It’s made for the big screen.

Let's discuss the battle scenes that everyone is most concerned about first. In this film, most of the scenes are shot in live action, without CGI. Ridley Scott's films, no matter what genre, always have top-notch visuals. With an advertising background, he is a visual master who knows how to use photography, composition, color, even costumes and set design to create rich and layered visuals.

Being an art student himself, Ridley Scott's unique visual style is greatly influenced by his strong foundation in art. Whether it's the storyboards he draws or the color elements in the film, or his control over the depth of the images, his works are filled with abundant visual elements and extraordinary scene compositions.

In his wide shots, Ridley Scott particularly likes to place an active character or object in the foreground, creating a diagonal composition that extends from the foreground to the far end of the frame, thus expressing a sense of spatial depth and creating a sense of openness and grandeur in the scene. For example, in the Battle of Waterloo depicted in the film, the oppressive feeling of the cavalry charge in the wide shots and the densely lined up muskets and bayonets in the close-up shots create a strong visual impact.

In close-up shots, Ridley Scott emphasizes the sense of depth even more under the characteristic of diagonal composition. He highlights details through costumes and makeup, and his designs have a strong visual effect. For example, in the wedding scene of Napoleon and Josephine, the rich elements of costumes, the contrast of lighting in the indoor setting, and the abundance of visual content are not chaotic but exquisitely balanced. It is evident that each seemingly piled-up element is meticulously designed.

Finally, this top-tier director who excels in visual storytelling can tell a story through the camera lens. My favorite war scene in the entire film is the “Battle of the Three Emperors” (Battle of Austerlitz), which is completely orchestrated through the lens. The rhythm of the Russian-Austrian coalition’s attack, the French army’s ambush, and the successive waves of attacks on their flanks and rear under Napoleon’s command, ultimately trapping the enemy on the surface of the lake, is presented with exceptional clarity and without specific dialogue.

Ridley Scott’s films, in terms of macro-level depth and micro-level details, are made for the big screen. Of course, “Napoleon” is not the type of film that relies solely on war scenes to carry the story. The six war scenes in the film do not make up a significant portion of the overall runtime. The war scenes are merely embellishments. As a historical film, the focus of this film lies in the following aspects.

A “deconstructed” historical film.

Ridley Scott’s historical works have always had a unique perspective, combining real historical reenactments with unconventional thinking. Which means that it can be “deconstruction”. For example, films, especially historical ones always strive to be “human-centric”, that examine history from a personal perspective and portray historical figures as “human”.

If you think the presentation of “Napoleon” is controversial, then you probably haven’t seen “Exodus: Gods and Kings” from 2014. Compared to that, “Napoleon” is relatively restrained and less unconventional. Ridley Scott follows his own style, intertwining historical events with personal expression, and insists on being human-centric by humanizing the lofty historical figure - the Emperor of the First French Empire.

What’s the driving force behind a man’s constant conquest? It is nothing other than power and desire. There are no noble reasons or selfless viewpoints.

This leads to the film’s portrayal of Napoleon being divided into two parts: the historical aspect and the emotional aspect. The film constantly switches between these two perspectives, and a crucial plot device is the voice-over narration accompanying Napoleon’s correspondence with Josephine. Each time the narration begins, it signifies a shift in perspective. The juxtaposition of these two aspects presents a very full, three-dimensional, and controversial portrayal of Napoleon.

In the film, we see his anxiety when first entering the battlefield, his maturity after continuous victories, his arrogance after failures, his self-assured yet insecure behavior in dealing with his wife’s emotions, and his fluctuating expressions of love for Empress Josephine. This makes the narrative logic and character motivations in the film very clear. Through his desire for conquest and his emotions towards his wife, Napoleon constantly fills the void in his heart.

Perhaps this is also how Ridley Scott interprets Napoleon: Although he “reversed” and declared himself emperor, he almost conquered Europe. The Napoleonic Code established the social order of Western capitalist countries, and he took France to unprecedented heights.

However, all of this was built on his passion for this land, his insatiable desire for conquest, and his emotional attachment. In summary, it is the three points mentioned at the beginning: love for France, love for war, and love for his wife. We can simply observe from a neutral standpoint and appreciate Ridley Scott’s epic film for its personal expression and montage charm.

Leave the skeptical issues to the audience.

There exists another characteristic in Ridley Scott’s works: what you see is what you get. He has described himself as an agnostic, meaning that besides feelings or phenomena, the world itself cannot be known, so it’s better to go with one’s feelings.

He is deeply influenced by German expressionism in his early works. The expressionist style permeates Ridley Scot’s films, showcasing magnificent visual effects and establishing him as a top visual master in Hollywood. Expressionism also gives his films a straightforward style, without excessive speculation, because Ridley Scott is not a director inclined towards deep thinking. Some critics also believe this is why Ridley Scott has yet to win an Oscar for directing, as the Academy tends to favor more thought-provoking works.

Whether realistic or abstract, the expression of the self is fully contained in his works. That’s why Ridley Scott’s films never leaving the audience confused. Even in the complex narrative structure of a film like “Blade Runner”, the audience understands it perfectly.

So, don’t worry about the vast story structure, numerous historical characters, and the 158 minutes of content in “Napoleon”. It is easier to understand than “Oppenheimer”. Ridley Scott has always been a master storyteller, and his skill as an experienced director should be trusted.

He, as someone who is “not prone to deep thinking”, likes to pose questions. After watching it, the so-called issues and debates arise. For example, the depiction of Napoleon’s personality and his romance life, the portrayal of a complex and multifaceted figure with multiple identities such as soldier, general, king, tyrant, rebel, and lover - all these become topics of discussion after watching the film.

No doubt that Ridley Scott is also a marketing master. Such discussions naturally generate buzz. But this is not intentional, it is simply his characteristic, especially when he makes historical films.

The film may be criticized for its overly straightforward and flat storyline, like a mere account of events. However, from another perspective, this “flatness” can be seen as a narrative technique that creates a sense of “thunder in silence”.

Regarding films and TV adaptations about Napoleon, this film deliberately takes a different approach from previous versions by downplaying the dramatic climax. For example, the film includes visually stunning war scenes, but it is the plot surrounding the events before and after the wars that is the most engaging and informative part of the film.

For instance, the interactions between Napoleon and Arthur Wellesley, the English-Dutch commander, after the Battle of Waterloo, and the portrayal of characters before and after Napoleon’s marriage and divorce from Josephine. During the Egyptian campaign, the focus is not on the war itself but rather on depicting his return to home halfway.

These elements are full of drama, and the characters come to life. For Western audiences familiar with previous films about Napoleon, every seemingly effortless detail in the film challenges conventional expectations. Rather than “flat”, it should be said that the director subtly achieves personal expression without drawing attention to it.

This is true love.

The story between the Emperor and Empress has always been a topic of interest for lovers of historical gossip. We may not be familiar with the gossip surrounding the French royal family, but we can catch a glimpse of it through movies.

I once read in a gossip magazine that Napoleon initially pursued Josephine not out of love, but simply to elevate his own status and enter the ranks of the aristocracy. However, the film does not portray it that way.

Ridley Scott is relatively restrained, and he offers insights into the love story that are in line with the tone and theme of the film. He believes that it all stems from desire, with the initial conquering desire of a man being the core under the deconstruction of the film.

From their first encounter to a hasty marriage and subsequent infidelity, their relationship is built on desire rather than love. It is only in the middle part of the film, as Napoleon’s conquests begin and force them apart, that they truly realize their love for each other. The exchange of letters becomes a symbol of their love.

The director’s portrayal of the royal relationship is relatively gentle, not so scandalous. Some say that Napoleon invaded Russia because the Russian prince may have had an affair with his wife. The film does indeed depict a story between a handsome prince and Josephine, but it is unrelated to the motive of the invasion of Russia.

So the director places them both in the perspective of a love story. While their relationship may have been based on desire, love did blossom between them. Napoleon’s image of being talkative or complaining when away from his wife, like a “giant baby”, indicates that he deeply loves her. Before their marriage, he was invincible; after their divorce, he met his Waterloo.

This is the story of the epic film “Napoleon”, deconstructing the self-esteem, desires and love of an emperor. It may not be grand or gripping, but it is intriguing enough and provides material for discussion. After all, he elevated France to unprecedented heights in history, and after Napoleon, all that remained were anecdotes.