In an isolated but no less important debate, the audience has been divided by the lack of competence and ethics imposed in the film, for not authentically recounting what happened in the life of Napoleon Bonaparte, both in his duels/crusades (historical inconsistencies) as in his romantic relationship with Josefina.
My critical vision is more oriented to the technical direction imposed by Ridley Scott, who grants such dazzling staging, and which are possibly one of the last great battles that we see on the big screen, with that total realism that accredits to extras such as the synchronization of battles. The battles of Austerlitz and Waterloo are the best achieved on screen, given that they are not interrupted by an interposition of another scene and by their bloodthirsty look at the conflicts when the cameras are on the battlefield. After going through a bad time with films in recent decades that were released in theaters without pain or glory, Scott returns to direct a film that certifies him as a great spectacle for movie theaters.
Joaquin Phoenix returns to work with Ridley after 23 years (since Gladiator) to rectify that with his acting connection with the ideas presented with the filmmaker, they pave a duo that can be consecrated again, but with the same effervescence as the first time. Phoenix's Napoleon is more intimate than anticipated, delivering a performance more oriented towards the vulnerability of his character and his inexhaustible desire to conceive an heir to the throne.
My critical vision is more oriented to the technical direction imposed by Ridley Scott, who grants such dazzling staging, and which are possibly one of the last great battles that we see on the big screen, with that total realism that accredits to extras such as the synchronization of battles. The battles of Austerlitz and Waterloo are the best achieved on screen, given that they are not interrupted by an interposition of another scene and by their bloodthirsty look at the conflicts when the cameras are on the battlefield. After going through a bad time with films in recent decades that were released in theaters without pain or glory, Scott returns to direct a film that certifies him as a great spectacle for movie theaters.
Joaquin Phoenix returns to work with Ridley after 23 years (since Gladiator) to rectify that with his acting connection with the ideas presented with the filmmaker, they pave a duo that can be consecrated again, but with the same effervescence as the first time. Phoenix's Napoleon is more intimate than anticipated, delivering a performance more oriented towards the vulnerability of his character and his inexhaustible desire to conceive an heir to the throne.