Ridley Scott

NAPOLEON: but didn’t they name a complex after this guy?

by
Photo caption: Joaquin Phoenix in NAPOLEON. Courtesy of AppleTV.

Of all living filmmakers, Ridley Scott would seem the most well-equipped to pull off a boundless EPIC, but his Napoleon, other than three spectacular battle scenes and a little sex, is boring, underwhelming and a little confounding. As The Wife said exiting the theater, it’s a slog, and she wasn’t referring to the winter retreat from Moscow.

For better or worse, Napoleon covers Napoleon Bonaparte’s entire public career – from his emergence in 1793 at age 24 to the beginning of his final captivity on St. Helena in 1815 at the age of 46. It’s kinda like a college survey course in the Napoleonic Era. Napoleon’s historical accuracy is solid, and, for a Hollywood movie, remarkably unusual.

Even with a running time of 2 hours and 38 minutes, there’s a lot of ground to cover. He did fight 61 battles, and it took the SEVENTH Coalition of opposing nations to defeat him. So, we get the briefest of glimpses of Napoleon’s mother, his second wife and other major figures in his life and times.

Here’s what is great about Napoleon – three extraordinarily spectacular battle scenes, depicting the Siege of Toulon, and the famous Battles of Austerlitz and Waterloo. They are amazing to watch, and the first two help us to understand Napoleon’s military genius (and the third, Wellington’s military genius). A segment of Austerlitz where Napoleon orders cannon fire to break the ice under enemy forces is one of greatest and most unforgettable battle scenes in cinema history.

Napoleon also does a pretty fair job with the the relationship between Napoleon (Joaquin Phoenix) and his first wife Josephine (Vanessa Kirby). It was a very uncomplicated one: he was utterly captivated by and devoted to her, and she just wasn’t that IN to him. Josephine was a survivor and an adventuress, who navigated through her misogynistic environment with a gift for canny manipulation. He finds that even making her an empress isn’t enough to quell her promiscuity. Phoenix and Kirby do a good job with this part of the story.

But, oddly for a biopic, Napoleon fails to help us understand Napoleon. Sure, he’s ambitious from the start, but why? And why does he need to keep conquering, at the risk of overreaching and losing everything? After all, didn’t they name a complex after this guy?

Joaquin Phoenix was so vivid as Johnny Cash in Walk the Line, as Commodus in Gladiator, and as Freddie in The Master; he was so original and authentic in Her and C’mon C’mon. But, in Napoleon, his performance doesn’t unwrap the package of Napoleon’s psyche. I can’t say it’s Phoenix’a fault, but the collaboration between Phoenix, Scott and screenwriter David Scarpa doesn’t pay off.

Scott does point out in an end title that 3 million lost their lives during the Napoleonic Wars, which raises the question, to what end? This guy with an insatiable appetite for power and conquest was starting wars with some twits who had been born into underserved monarchy.

Here’s a random digression from the movie Napoleon. Was Napoleon’s military prowess overrated? This is ironic, because Napoleon rose on his merits. But the forces he was defeating were led by royalty and aristocrats, who were given command of armies, not by their own training and demonstrated skills, but by the accident of birth. Alexander I of Russia, for example, started out as an immature, headstrong nitwit and aged into a fullblown nutcase. Maybe Napoleon was analogous to MLB Hall of Famers who never had to face black ballplayers. Hmmm.

Napoleon is now in theaters, and will stream on AppleTV on a date TBD.

THE LAST DUEL: power, gender, superstition and knights in armor

by
Photo caption: Adam Driver and Matt Damon in THE LAST DUEL. Courtesy 20th Century Studios.

Based on accounts of the last medieval trial by combat, The Last Duel is both a thriller and a thinker. Director Ridley Scott (Alien, Blade Runner, Thelma & Louise, Gladiator, The Martian) brings alive medieval superstition and savagery, and embeds an exploration of the power dynamics within feudal society, especially for women.

The setting is France in the 1380s. Jean (Matt Damon) and Jacques (Adam Driver) have been born into the nobility as squires, which means that they serve as mounted, armored warriors and can own land and castles supported by their very own peasants. Jean is later promoted to the higher title of knight. That puts Jean and Jacques in the elite one percent, but they are totally subservient to the region’s count, Pierre (Ben Affleck), who in turn owes the same absolute fealty to King Charles VI (check him out on Wikipedia).

Jean is an impressive fighter, but not very strategic. He’s a dunderhead, devoid of any social or political skill. Jean has married the beautiful and intelligent aristocrat Marguerite (Jodie Comer), whose father had fallen out of royal favor. Try as she might, Marguerite is only moderately successful in helping Jean from bulling his way through life’s china shop.

Jacques is a canny smoothy, with a rare business sense and charm that melts the ladies. Those financial smarts, along with his appreciation for culture, makes Jacques a protege of Pierre, the count. Pierre favors favors Jacques over Jean, who resents it.

Finding Marguerite alone at home, Jacques rapes her. When Marguerite accuses him, Jacques denies it. Jean presses the case, which culminates in the film’s titular trial by combat.

Ridley Scott tells the story first from Jean’s point of view, then from Jacques’ and, finally, from Margeurite’s. Unlike in Rashomon, the three versions of what occurred don’t diverge much from each other. Instead, we see how Jean and Jacques, who both adhere to the code of their class, see themselves. Jean really thinks that he is a good husband. Jacques, although he has forced himself on Marguerite without her consent, really doesn’t think he has committed rape. (They have their Code of Chivalry, but it sure isn’t very chivalrous.)

Jodie Comer in THE LAST DUEL. Courtesy 20th Century Studios.

We learn that, in 1300s European legality, rape wasn’t even a violent crime against the woman, but was a property crime against her guardian; (she was essentially the property of her father or husband). Ridley Scott slyly emphasizes this when he shows Jean’s reaction to an equine assault on his favorite breeding mare.

Margeurite’s insistence on bringing the rape charge publicly is a major problem for both Jean and for Jacques. It’s also an annoying inconvenience for the count, the king and the Church, who would sweep it under the rug. Jean thinks that he cleverly found away around the cover-up, but he overlooks one disturbing factor – if he dies in the duel, Marguerite will be immediately burned at the stake.

The performances by Comer, Driver, Damon and Affleck are all excellent. Harriet Walker is very good as Jean’s mother, a role which seems at first like a stereotypical stereotypical shrewish mother-in-law, until we learn of her own complicated journey navigating a world where men are unaccountable.

Scott shows us some savage medieval battles to prepare us for the final duel. Warfare at the time was desperate and brutal hand-to-hand butchery, within a sword’s length, like fighting in a phone booth. To stab, slash or impale an opponent, a combatant needed to find an unarmored body part. The jousting in The Last Duel seems especially authentic.

The Wife didn’t want to accompany me when I described it as the “medieval rape movie”; I should have said it’s the “trial by combat movie”.

I was late to The Last Duel, catching up with it several months after its summer 2021 release. Due to the distributor’s blustery publicity campaign, I had underestimated it; it’s one of the Best Movies of 2021, The Last Duel is streaming from Amazon, AppleTV, Vudu, YouTube, HBO and redbox.

HOUSE OF GUCCI: don’t wish, you may get it

by
Photo caption: Lady Gaga and Adam Driver in HOUSE OF GUCCI. Courtesy of MGM

Lady Gaga and Adam Driver shine in House of Gucci, a story of sordid behavior among the rich and famous, “inspired by true events”. Driver plays Maurizio, the feckless scion of the famed Gucci clan. Lady Gaga plays Patrizia, the humbly born striver who snares Maurizio as a husband. In filmmaker Ridley Scott’s telling, the conniving Patrizia molds the charmingly goofy naif into someone with the wherewithal to screw his relatives out of the business.

This is Shakespearean family treachery – and Patrizia will learn the price of turning someone into a cutthroat. Lady Gaga is once again (A Star Is Born) absolutely magnetic on-screen. Driver makes the character of Maurizio very, very interesting as he evolves into (almost) what Patrizia wants him to be.

The flashiest role – and performance – is Jared Leto’s as Maurizio’s cousin Paolo. Leto is physically unrecognizable in the role – chubby, with the hair of the The Three Stooges’ Larry Fine and corduroy suits of absurdly wide wale. In The House of Gucci, every other character explicitly and correctly describes Paolo as an idiot. Many critics have compared Paolo, as the family’ weakest link, to Fredo in The Godfather; however, John Cazale’s performance as Fredo brought subtlety that was not on the written page, and Paolo is written to be a full-out buffoon. Leto is very funny, though.

Al Pacino and Jeremy Irons are excellent as the Gucci generation that built the business. Pacino’s Aldo (Paolo’s father) is a shameless hustler and Iron’s Rodolfo (Maurizio’s father) has reinvented himself as a patrician recluse.

Although it’s a smidgen too long, I was entertained by The House of Gucci. But The Wife, even less tolerant of long running times than am I, was bored and disgruntled by what she saw as a lack of redemption.

(For some reason, I keep calling this movie “House of Pizza” after the legendary San Jose joint.)

House of Gucci is now in theaters.

Prometheus: striking sci fi with a tinge of horror

by

Prometheus is a striking and well-acted sci fi adventure with a horror film tinge.  What you want in a sci fi movie is cool alien worlds and cool alien creatures – and, for that, it’s hard to top director Ridley Scott, who made the classic sci fi thrillers Blade Runner and Alien (as well as Gladiator, Thelma & Louise and Black Hawk Down).

In Prometheus, there is a space mission to find out if a species of aliens created us and returned to their world in another solar system.  The mission successfully finds the answer, finds the aliens and finds some terrifyingly lethal space monsters.

Don’t think too much about the premise.  The movie is a little ponderous when it drills down to the existential questions here.  We’re far better off enjoying the cool visuals and just rooting for the good guys to escape the space monsters.  And the space monsters are damn scary.  The final sequence, however,  makes the inevitable sequel all too obvious.

If you’re looking for a girl that can take a licking and keep on ticking, you can’t do any better than to cast Noomi Rapace, the star of the Swedish The Girl with the Dragon Tattoo series.  As the lead scientist on the mission, Rapace needs to survive a an impressive series of perils, including an alarming self-surgical procedure.

Michael Fassbinder is even better as an android with punctilious correctness and insincere charm, which some reviewers have compared to the computer Hal in 2001: A Space Odyssey.

Idris Elba (The Wire) is also notable because he plays the commander of the spaceship more as a tugboat captain than Captain Kirk.  Guy Pearce plays the elderly mogul who is financing the mission; distractingly, he is apparently wearing the same makeup as Dustin Hoffman did to play 121-year-old Jack Crabb in Little Big Man.

Sci fi is not one of my favorite genres and I won’t recommend it as a “must see” to a general audience, but if you’re a sci fi fan, then by all means, see Prometheus.

3D or not 3D?  If you’re gonna see Prometheus, I’d recommend forking over the premium and seeing it in 3D, especially for some scenes in which Fassbender’s android activates some floating holographic images in the alien HQ.