Ridley Scott ’s Napoleon (in theaters November 22) is a study of such stubbornness, perhaps particularly of the male variety. The film, written by David Scarpa, takes one of the most studied figures in history and turns him into an avatar of a ruinous human impulse: the unyielding pursuit of more renown, more glory, more power. Megalomaniacs like Napoleon have emerged throughout our species’s timeline, laying waste to so much around them and, eventually, to themselves.
Perhaps Scott and Scarpa see some pertinence there, some relevance to our own era. Is, say, Donald Trump a Napoleonic figure, short fingers swapped in for a general diminutiveness? Is he any number of the other strong men who have recently risen to power over the last decade or so? Maybe. Though the jokes about Napoleon’s height are sparing, there is plenty of other comedy in the film. Napoleon’s version of this infamous and strangely revered emperor is a ridiculous, petulant figure—not quite to the “terribly vexed” extremes of Phoenix’s character in Scott’s Gladiator, but certainly in the same famil
Ridley Scott Napoleon Film Power Glory Megalomaniacs Donald Trump Strongmen Comedy
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