Napoleon (2023)
Director: Ridley Scott
Screenwriter: David Scarpa
Starring: Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, Rupert Everett, Paul Rhys

Almost a quarter of a century after his swords and sandals epic Gladiator became a critically acclaimed cultural phenomenon and Oscars Best Picture winner, Ridley Scott re-teams with one of its stars – one of this generation’s leading actors and a multi-time Academy Award nominee, Joaquin Phoenix – to revisit another of history’s most written about leaders, Napoleon Bonaparte of France. With more historically accurate locations and just as many period-appropriate costumes as in his turn of the century fable, this life and times of France’s great-then-disgraced general should be a lot more affecting than it actually is. This bullet point journey through Bonaparte’s rise and fall from power doesn’t make powerful comment on the corruption of man, nor does it evaluate the emperor’s influence on war or peace, on Europe or France or the United Kingdom or Russia. In fact, it doesn’t say much at all…

It would be difficult to chronicle Napoleon’s story and fail to capture the imagination in one way or another. This is one of history’s most important figures, an emblem of power and greed. His various roles in post-revolution France took him across continents, saw him as the figurehead of coups, and brought about the deaths of more than one million people. His was a life filled with so many historically significant events, moments, and decisions, that anyone with so much as an Encyclopaedia Britannica could recount his story with at least some drama, shock and awe. The issue with this $200million film is that the script does little more than precisely that, recounting the significant moments of his leadership as if listing them out of a book, with a cheap and at times barely legible love angle tacked on to evoke empathy and provide commentary on the events that come fast and often with little context.

Joaquin Phoenix tries his best. He dominates every scene, embodying a character he clearly sees as more of a creature than a man. Under his spell, Napoleon Bonaparte is worthy of attention, a character whom we are desperate to investigate, to interrogate. But the film doesn’t allow for that. As we depart the beheading of Marie Antoinette in revolution-era France to first meet our subject, Phoenix is not unlike a lion with his jaw clenched, his eyes glazed, his uniform as extravagant and symbolic as a mane. There is so much promise held within this introduction – a potentially world-shifting performance, some spectacular wardrobe work, effective framing and blocking – and instead it sadly becomes emblematic of a film that leaves so much of its potential unfulfilled.

The bullet point journey through Napoleon’s conquests, political manoeuvres, and exiles, requires an emotional core for any potential audience to attach to, and it finds that in the would-be emperor’s marriage to his beloved Josephine. Vanessa Kirby embodies the infamous leader’s muse as if a witch who has cast a spell, and the Oscar-nominated performer’s turn is at times just as beguiling as Phoenix’s. Together, they never hit the highs of some of their other on-screen relationships (Phoenix in Her, Kirby in Pieces of a Woman), nor is their relationship as moving as that presented by Mel Gibson and Catherine McCormack in Braveheart, or as lustful as that presented by Omar Sharif and Julie Christie in Doctor Zhivago. There isn’t even a sense of dangerous plotting as underlined by the incestuous relationship hinted at between Phoenix and Connie Nielsen in Gladiator, which at least provoked a reaction. In Napoleon, Phoenix and Kirby are believably brought together, but they are far from enchanted by one another, and as time passes and events occur, you expect that to become part of the commentary on Napoleon’s lack of humanity, but it doesn’t. Napoleon instead frames this relationship as the beating heart of its subject, as the primary motivating factor, the biggest achievement, the biggest regret. And the film only takes brief moments to dissect this, or even present a valid argument as to how the relationship motivated the man to achieve otherworldly horrors. Theirs is a story that runs parallel to the story of Napoleon’s “achievements”, evolving from time to time but largely suffering from the same “this happens and then this happens and then this happens” that plagues the rest of the tale.

Beyond the limitations of David Scarpa’s screenplay, which was no doubt limited in its potential by the vast period of time it sought to cover (a period of more than 25 years), and the effects this has on Claire Simpson’s editing and pacing of the film, Napoleon does achieve a lot cinematically. First and foremost, the costume work is spectacular. David Crossman and Janty Yates’ work in costuming is nothing short of stellar, and a glimpse at the level of quality many expected a modern Ridley Scott historical epic to achieve. Everyone looks unique and period-appropriate, but the smaller details on the limited selection of main characters are worthy of the biggest screen possible and plenty of critical acclaim. Similarly, the production design by Arthur Max is a significant factor in bringing cinematic qualities to scenes that are otherwise inconsequential or at least far from unmissable. The party and governmental scenes are where the latter shines the brightest, some sequences decked out and presented as if the period’s great paintings.

Ridley Scott must be commended for his role in bringing this to life, too. Some shots are of the highest cinematic calibre, a master clearly touching on the greatness that has been foundational to his visually impressive career to date. His party scenes are filled with life, there are unique physical qualities to many of the major historical figures at play in the story, and he seems intent on ensuring that not a single battle is presented in as bland a fashion as many other director’s have long since settled. His work with cinematographer Dariusz Wolski in the capturing of cold, of fog, of early morning winter sunrises, imbues the piece with a sense of reality and ensures that nobody can be bored by the achievements held within each frame. Some sequences, such as the one in which Napoleon takes Moscow, are worthy even of a highlight reel that includes The Duellists, Alien, Blade Runner, Thelma & Louise and Gladiator.

As has often been the case in more recent Scott movies, there are also shots, scenes and sometimes even entire sequences that seem absent of his once unique and form-topping touch. Early on, it is easy to be removed from the reality of the time period courtesy of poor CGI, such as that showing Joaquin Phoenix riding a horse on a beach or large crowds resembling AI renditions more than actual people. The picture is also so awash with greys that it seems more like a mid-2000s early digital filmmaking release than even Scott’s own from that era. Some night time shots are utterly spectacular, and seem to be of the same school as those celebrated in Jordan Peele’s Nope, but there are vast periods in which everything looks washed out, and it is almost certain that minutes of this film will be barely legible (too dark) to anyone who eventually watches it at home.

Ridley Scott has spoken a lot in the press tour for Napoleon about how his movies do not need to be historically accurate. When a film seeks to explore something thematically, personally, or ideologically, then Scott is most certainly correct. Film is art, and art seeks truth rather than fact. Gladiator worked because of this perspective, because of how it abandoned fact in search of the truth held within the myth. But Napoleon doesn’t do that. It presents moment after moment from the history books, often inaccurately out of negligence as opposed to deeper purpose. There is no doubt that a lot of care and artistry can be seen on screen in Napoleon, but that negligence will be the story of this film: a movie that could have been great, that could have meant something, that could have simply been accurate, and ended up being none of those things. Like Napoleon himself, Napoleon thinks itself as greater than it is. It isn’t insulting like Ridley Scott’s idea of Napoleon firing canons into the Great Pyramid of Giza was to historians the world over, but it does offer only glimmers at its full might. Some individual pieces are greater than the whole in this instance, and what a shame that is. This should have been special.

Score: 15/24

Recommended for you: Ridley Scott Films Ranked

It can be easily interpreted that every successful actor is blessed by the limelight as soon as they start working. Gleeson is a fantastic example that anyone can pursue their dreams at any age. As soon as the Dublin-born actor received his Bachelor of Arts in English and Irish, he trained professionally as an actor. However, he went into teaching at a secondary school for several years. During Gleeson’s teaching days, he never gave up acting and would take on roles in theatre productions such as “Brownbread” (1987) and “Home” (1988), as well as writing plays himself, including “The Birdtable” (1987).

It was not until the early 1990s that Gleeson took the leap and pursued acting full-time, first starring in The Treaty (1991), then taking on supporting roles in Braveheart (1995), Angela Mooney Dies Again (1996), Michael Collins (1996), and The General (1998). As the years rolled on, Gleeson would not only become a household name in Ireland but also across the globe with his performances in films such as 28 Days Later (2002), Harry Potter and the Goblet of Fire (2005), and Beowulf (2007). Throughout Gleeson’s career, he has solidified a penchant for playing stern, complex, and captivating characters who undoubtedly make a film all the better with his presence.

With careful consideration, we at The Film Magazine present three career-defining performances from Brendan Gleeson.

Follow @thefilmagazine on Twitter.

1. In Bruges (2008)

10 Best In Bruges Moments

At the crux of Brendan Gleeson’s innate ability to capture a stoic persona whilst maintaining a level of endearment is his performance as Ken, a hitman’s mentor In Martin McDonagh’s In Bruges.

In Bruges is a scathing, sarcasm-filled riot of misadventures and profanities as McDonagh lays out a bleak but hilarious landscape in which Gleeson and co-star Colin Farrell’s comedic timing bounces off one another.

Gleeson’s career is brimming with frosty, aloof characters, but amidst his remarkable ability to depict these cold personalities is Gleeson’s often overlooked ability to portray dark comedy with a rare sense of naturality. The film thrives due to a combination of quick one-liners and long-running gags that run home the overall gritty, realist humour that compliments the contrasting crime noir plot. McDonagh uses Ken’s harsh demeanour and Gleeson’s performative style as a vessel for the offbeat, fierce script.

In Bruges is a pinnacle of how crucial performances can be to the success of a film. McDonagh’s script and directorial flair are admirable, yet Gleeson’s take on a straight-laced, no-nonsense, rather pragmatic hitman is what truly raised the movie to its acclaimed status.

Working in an ensemble cast brimming with incredible talent has the potential to amalgamate all the performances together to create an all-around commendably acted film. However, Gleeson’s brutish talents propel him to the forefront, showcasing his aptness for possessing the screen and creating a performance to be remembered.

Recommended for you: Martin McDonagh Films Ranked

2. Calvary (2014)

Brendan Gleeson plays Father James, a kind-hearted priest in a small Irish town. During his daily duties at the church, he attends a confessional where an anonymous parishioner announces that he intends to kill James after being abused by another priest as a child. As James grapples with the threat, he sees the darkness within the presumed peaceful community he has fostered for all these years.

Calvary comes from the mind of John Michael McDonagh, brother of In Bruges director Martin McDonagh and creator of The Guard (2011), in which Gleeson starred as a bad-mannered sergeant in rural Ireland. Whilst The Guard took a brilliantly satirical route to expose corrupt police departments, Calvary forgoes the jovial comedy to put on a merciless display of institutionalised abuse in places of worship. As the film weaves through the malevolence of the priest’s surroundings, subsequently exposing his own demons, a perceptional change to Father James’ life occurs. Gleeson takes on this valiant role with an integrity and passion that fuels his performance with a level of sincerity that captures James’ mistrust and the sudden change in the world around him.

Throughout the first act, Gleeson dons his character with a cloak of warm friendliness that seems to coat his entire personality; he is one to be trusted and has become a staple figure in the community. However, as Calvary unravels, Gleeson takes James’ wholesomeness and unveils that level of suspicion and sadness everyone hides deep down. By the finale, James is still an honourable man, but now he is a man who has encountered a world of hurt, has questioned his own beliefs, and has struggled with society’s lack of empathy. For Gleeson to portray such a fleshed-out character whose journey ends in a completely alternative position from where they started is genuinely commendable.

3. The Banshees of Inisherin (2022)

The Banshees of Inisherin Review

One of the most discussed films from 2022 was The Banshees of Inisherin, a tragicomedy following Pádriac (Colin Farrell) and Colm (Gleeson), two lifelong friends whose friendship suddenly ends at Colm’s will. The film chronicles Pádriac as he attempts to recollect and reconcile his bond with the tempered Colm.

The film eases in the looming threat of existentialism with every passing scene, amalgamating a strange unexplainable tension amidst the rather hilarious and, at times, whimsical narrative. With such a heavy story that explores these burdensome, dense themes, a strong cast is essential to avoid the weight of the entertainment value being entirely bogged down by the film’s own heaviness. What allows The Banshees of Inisherin to excel amidst all of its depth is the exceptional collection of performances by Farrell, Barry Keoghan, Kerry Condon, and most importantly Brendan Gleeson.

The Banshees of Inisherin tackles various subplots involving domestic troubles and civil war. Nevertheless, the film lives and dies on the mountain of brotherhood and how Colm and Pádriac’s friendship represents the need for solidarity across every walk of life, no matter what hardships or differences humanity collectively experiences. Gleeson, as Colm, is a severely grim, troubled man with an awfully sombre outlook on life as his character nears old age, which is made all the more pronounced by Farrell’s docile gathering of reality. Gleeson is the melancholic glue that keeps the film immensely grounded and metaphorical amidst all the brilliant one-liners and warm jokes.

Recommended for you: Andrea Riseborough: 3 Career-Defining Performances

Brendan Gleeson may not have become an international star until later in life than those he so often shares the screen with, but his talents are nonetheless exceptional. This Irish actor’s ability to portray a wide range of characteristics in believable ways, and to find empathy in often troubled characters, has made him one of cinema’s most respected contemporary names.

Number 30 – Forest Gump – Winner 1994

Director: Robert Zemeckis

Cast: Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, Sally Field, Haley Joel Osment

Number 29 – Chariots of Fire – Winner 1981

Director: Hugh Hudson

Cast: Ben Cross, Ian Charleson, Nicholas Farrell, Nigel Havers, Ian Holm, John Gielgud, Cheryl Campbell, Alice Krige, Struan Rodger, Nigel Davenport, Patrick Magee, David Yelland, Peter Egan, Daniel Gerroll, Dennis Christopher, Brad Davis

Number 28 – The Hurt Locker – Winner 2009

Director: Kathryn Bigelow

Cast: Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce, Christian Camargo, David Morse, Ralph Fiennes, Evangeline Lilly, Christopher Sayegh

Number 27 – Chicago – Winner 2002

Director: Rob Marshall 

Cast: Catherine Zeta-Jones, Renée Zellweger, Richard Gere, John C. Reilly, Queen Latifah, Christine Baranski, Taye Diggs, Lucy Liu, Colm Feore, Mýa, Dominic West

Number 26 – A Beautiful Mind – Winner 2001

Director: Ron Howard 

Cast: Russell Crowe, Ed Harris, Jennifer Connelly, Paul Bettany, Josh Lucas, Adam Goldberg, Anthony Rapp, Vivien Cardone, Christopher Plummer, Judd Hirsch, Jason Gray-Stanford, Bryce Dallas Howard

Number 25 – American Beauty – Winner 1999

Director: Sam Mendes

Cast: Kevin Spacey, Annette Bening, Thora Birch, Wes Bentley, Mena Suvari, Chris Cooper, Peter Gallagher, Allison Janney, Scott Bakula

Number 24 – All Quiet on the Western Front – Winner 1929/30

Director: Lewis Milestone

Cast: Lew Ayres, Louis Wolheim, John Wray, Arnold Lucy, Ben Alexander, Scott Kolk, Owen Davis, Jr, William Bakewell, Russell Gleason, Richard Alexander

Number 23 – Braveheart – Winner 1995

Director: Mel Gibson 

Cast: Mel Gibson, Sophie Marceau, Patrick McGoohan, Angus Macfadyen, Catherine McCormack, Brendan Gleeson, James Cosmo, David O’Hara, Peter Hanly, Ian Bannen, Seán McGinley, Brian Cox

Number 22 – An American In Paris – Winner 1951

Director: Vincente Minnelli

Cast: Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, Nina Foch, Eugene Borden

Number 21 – Rocky – Winner 1976

Director: John G. Avildsen

Cast: Sylvester Stallone, Talia Shire, Burt Young, Carl Weathers, Burgess Meredith, Thayer David, Joe Spinell, Tony Burton, Pedro Lovell

Number 20 – All About Eve – Winner 1950

Director: Joseph L. Mankiewicz

Cast: Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, Hugh Marlowe, Thelma Ritter, Gregory Ratoff, Marilyn Monroe, Barbara Bates

Number 19 – Rain Man – Winner 1988

Director: Barry Levinson

Cast: Dustin Hoffman, Tom Cruise, Valeria Golino, Jerry Molen, Ralph Seymour, Michael D. Roberts, Bonnie Hunt, Beth Grant, Lucinda Jenney

Number 18 – West Side Story – Winner 1961

Director: Robert Wise and Jerome Robbins

Cast: Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, George Chakiris, Simon Oakland, Ned Glass, Marni Nixon, Jimmy Bryant

Number 17 – Gladiator – Winner 2000

Director: Ridley Scott 

Cast: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Derek Jacobi, Djimon Hounsou, David Schofield, John Shrapnel, Tomas Arana, Ralf Möller, Spencer Treat Clark, David Hemmings, Tommy Flanagan, Sven-Ole Thorsen, Richard Harris, Omid Djalili, Giorgio Cantarini

Number 16 – The Silence of the Lambs – Winner 1991

Director: Jonathan Demme

Cast: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine, Anthony Heald, Masha Skorobogatov

Number 15 – From Here to Eternity – Winner 1953

Director: Fred Zinnemann

Cast: Burt Lancaster, Montgomery Clift, Deborah Kerr, Donna Reed, Frank Sinatra, Philip Ober, Mickey Shaughnessy, Ernest Borgnine, Jack Warden

Number 14 – The Lord of the Rings: The Return of the King – Winner 2003

Director: Peter Jackson 

Cast: Elijah Wood, Ian McKellen, Viggo Mortensen, Liv Tyler, Sean Astin, Sala Baker, Cate Blanchett, John Rhys-Davies, Bernard Hill, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Miranda Otto, David Wenham, Karl Urban, John Noble, Andy Serkis, Ian Holm 

Number 13 – One Flew Over The Cuckoo’s Nest – Winner 1975

Director: Miloš Forman

Cast: Jack Nicholson, Louise Fletcher, Will Sampson, Brad Dourif, Sydney Lassick, Christopher Lloyd, Danny DeVito, William Redfield, Dean Brooks, William Duell, Vincent Schiavelli 

Number 12 – 12 Years A Slave – Winner 2013

Director: Steve McQueen 

Cast: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, Sarah Paulson, Benedict Cumberbatch, Brad Pitt, Paul Dano, Adepero Oduye, Paul Giamatti 

Number 11 – The Bridge On The River Kwai – Winner 1957

Director: David Lean

Cast: William Holden, Alec Guinness, Jack Hawkins, Sessue Hayakawa, James Donald, Geoffrey Horne, André Morell, Peter Williams, John Boxer, Percy Herbert, Harold Goodwin

Number 10 – Platoon – Winner 1986

Director: Oliver Stone

Cast: Charlie Sheen, Tom Berenger, Willem Dafoe, John C. McGinley, Kevin Dillon, Reggie Johnson, Keith David, Mark Moses, Francesco Quinn, Forest Whitaker, Tony Todd, Bob Orwig, Richard Edson, Johnny Depp

Number 9 – The Departed – Winner 2006

Director: Martin Scorsese

Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Vera Farmiga, Ray Winstone, Alec Baldwin 

Number 8 – Titanic – Winner 1997

Director: James Cameron 

Cast: Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, Frances Fisher, Gloria Stuart, Bill Paxton, Victor Garber, Bernard Hill, David Warner

Number 7 – Lawrence of Arabia – Winner 1962

Director: David Lean

Cast: Peter O’Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif, José Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy

Number 6 – Ben-Hur – Winner 1959

Director: William Wyler

Cast: Charlton Heston, Jack Hawkins, Haya Harareet, Stephen Boyd, Hugh Griffith, Martha Scott, Cathy O’Donnell, Sam Jaffe, Finlay Currie, Frank Thring, Terence Longdon, George Relph, André Morell 

Number 5 – Schindler’s List – Winner 1993

Director: Steven Spielberg 

Cast: Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagall, Embeth Davidtz, Małgorzata Gebel, Mark Ivanir, Beatrice Macola, Andrzej Seweryn

Number 4 – The Sound of Music – Winner 1965

Director: Robert Wise

Cast: Julie Andrews, Christopher Plummer, Eleanor Parker, Richard Haydn, Peggy Wood, Charmian Carr, Nicholas Hammond, Heather Menzies, Duane Chase, Angela Cartwright, Debbie Turner, Kym Karath

Number 3 – The Godfather: Part II – Winner 1974

Director: Francis Ford Coppola

Cast: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, Talia Shire, Lee Strasberg, Michael V. Gazzo, Morgana King, G. D. Spradlin, Richard Bright 

Number 2 – Casablanca – Winner 1943

Director: Michael Curtiz

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet

Number 1 – Gone With The Wind – Winner 1940

Director: Victor Fleming

Cast: Thomas Mitchell, Barbara O’Neil, Vivien Leigh, Evelyn Keyes, Ann Rutherford, George Reeves, Fred Crane, Hattie McDaniel, Oscar Polk, Butterfly McQueen, Victor Jory, Everett Brown, Howard Hickman, Alicia Rhett, Leslie Howard, Olivia de Havilland, Rand Brooks, Carroll Nye, Clark Gable

Instead of enjoying our Valentine’s week, we’ve ranted and raved about the top 11 (there were too many to whittle down to only 10) choices for the happy couples among us. So, come with us on this journey of enjoyment and discovery (no innuendo intended) as we suggest 11 films from 11 different categories to give you the February 14th you and your partner have truly been hoping for.

11. If You Like Your Love Independent – Before Sunrise (1995)

Witnessing the youthful French woman and American man at the centre of this dialogue-led film develop feelings for one another as the night progresses is bound to bring feelings of warmth to otherwise cold hearts, and if you need to be reminded of how important love can be then watching the trilogy (that follows the couple from their 20s to their 40s) could catch you at any point in your life, and your relationship, to remind you of just how lovely life can be.

Recommended for you: Ravished by Romance – Before Sunrise’s Antithetical Approach to Love

10. If You Like Your Love in the 80s – Dirty Dancing (1987)

Filled with a romance so unlikely because of how different Baby and Johnny are, Dirty Dancing explores the hardship of continuing a forbidden romance and the consequences it has on the particpants’ lives, all the while showing that love and stubbornness can break society’s rules and allow their relationship to blossom.

While a number of John Hughes’ 80s teen romances, not least Sixteen Candles and Some Kind of Wonderful, could be equally as suitable Valentine’s Day viewing, Dirty Dancing is our suggestion because of the dance moves we’re convinced will inspire all sorts of adventurous things between you and your partner. Besides, it’s got a kick-ass soundtrack and; who doesn’t love Patrick Swayze bellowing out his sweet melody?

9. If You Like Your Love Stories Drawn With Heart – Up (2009)

This film beautifully captures the true essence of romance without the use of any dialogue whatsoever in its beautiful but heart-breaking opening montage of a lifelong relationship between protagonist Carl and his since passed wife Ellie. It’s hard not to well-up.

Although Beauty and the Beast certainly has its own place in many a couples’ watchlist, Up is certifiably the most adult and mature animated offering of romance in mainstream western animation and an absolute classic of the genre.