NAPOLEON (2023) (**1/2 OUT OF ****) The Theatrical Cut

 Arguably, Oscar-winning British director Ridley Scott of "Gladiator" fame will be remembered as a cinematic wizard whose films boasted stellar production values, robust casts, and colossal budgets. Sadly, the dramatic content in some of his movies leaves something to be desired. Chiefly, Scott displays his considerable flair for choreography in staging the sprawling battle scenes in "Napoleon." Joaquin Phoenix, Vanessa Kirby, and Rupert Everett headline a cast of thousands. Unfortunately, the blood, guts, and thunder of combat overshadow the quieter moments of the Corsican-born tactician's life. Whereas the battlefield scenes bristle with excitement, suspense, and bravado, Napoleon's life off the field of valor proves far less volatile. Scott creates several 19th century combat scenes that rival Steven Spielberg's 20th century World War II epic "Saving Private Ryan." For example, the horse the eponymous hero rides in his first foray against the British at Toulon has its chest torn open by a cannonball! The chief problem with "Napoleon" (**1/2 OUT OF ****) is Scott himself. He treats Napoleon with nothing but contempt. Since Scott is British, this should come as no surprise.

Now, add the bizarre casting of Joaquin "The Joker" Phoenix as Bonaparte. Although a gifted thespian in his own right, Phoenix generates little magnetism. The way Scott skewers Napoleon in "Napoleon" would be enough to make the 'Little Corporal' spin in his Parisian tomb. Mostly, the impeccably clad Phoenix neither strikes a sufficiently heroic stance nor endears himself to us as a human being with social skills. As his wife and life-long confidante Josephine, Vanessa Kirby of "Mission: Impossible - Fallout" savors every second of screen time as she taunts and belittles Napoleon. The actress reminded me of the late Leslie Caron of "Gigi" because she has such a mischievous personality. Anyway, Kirby dominates every scene with Phoenix in private. Meantime, Phoenix never rises from the ashes of an inscrutable performance as one of history's greatest legends. He remains a cold, aloof figure and little about him would incline us to regard him with a shred of sympathy. Comparably, Rod Steiger looked more believable as Bonaparte in Sergei Bondarchuk's "Waterloo" (1970), a far better film whose scope and spectacle has never been surpassed. If you haven't seen "Waterloo," you must see it!

Scenarist David Scarpa, who penned the abysmal Keanu Reeves "Day the Earth Stood Still" remake as well as Scott's own comatose "All the Money in the World," focuses primarily on Napolean's military successes and failures. Of course, time doesn't stand still long in this 158-minute epic because Scott and Scarpa have so much ground to cover. Presumably, Scott must have worried about not only audience ennui but also story momentum. Since "Napoleon" doesn't lionize Bonaparte, he emerges as an unsavory figure who behaves petulantly at times. Certainly, Scott and Scarpa don't present a balanced portrait of Napoleon. They refuse to highlight some of his enduring culture endeavors, such as the Napoleonic Code that continues today. Furthermore, Napoleon's medical history has been white washed, otherwise we might feel a shred of sympathy for the tyrant. Indeed, characterization is held to a minimum in "Napoleon." The only other actor who stands out  here is Rupert Everett of "My Best Friend's Wedding" as the snobbish Duke of Wellington, and he remains a vague figure with one decent line of dialogue. According to eminent Bonaparte biographer Andrew Roberts, when a sniper at Waterloo had Napoleon in his crosshairs sought permission to shoot him, the Duke snapped brusquely, "No! I'll not allow it. It is not the business of commanders to be firing upon one another!"

The battle of Austerlitz provides the most memorable fireworks. As the combined cavalries of Russia and Austria burst across a frozen river toward the French, Napoleon's artillery pulverizes the ice into slush with barrages of molten cannon balls. Comparatively, the battle of Waterloo lacks the spectacle of Austerlitz. Everybody behind the scenes who toiled on the production design, costume design, and set decoration deserve to win Oscars in all categories. Lenser Dariusz Wolski's widescreen cinematography captures the color and pageantry of 19th warfare. Previously, he shot several Scott notable epics, including "The Martian," "Prometheus," and "The Counselor." Ultimately, Scott glosses over two things about Napoleon which remain inseparable in anybody's mind who has admired the Emperor's portraits. First, never once does Napoleon slip his hand into his tunic to suppress a spell of indigestion. Second, Scott never depicts Napoleon's health issues. Despite a little tampering here and there with history, "Napoleon" qualifies as a better than average military extravaganza. Now, the question remains whether the extended four hour plus  version of "Napoleon" slated for Apple TV+ will make amends for any of these shortcomings.