When the trailer for Ridley Scott’s Napoleon was released last summer, French social networks shuddered with excitement. The trailer’s promises were bountiful, and the historical inaccuracies spotted here and there (no, Napoleon didn’t fire cannon at the Pyramids) did little to dent our enthusiasm; great artists are allowed some poetic licence, after all. How daring of the 85-year-old English film-maker to tackle such a momentous subject – we were in awe already. Would his Napoleon measure up to his masterful debut, The Duellists, set in France during the Napoleonic wars and adapted from a short story by Joseph Conrad? Hopes were running high.
That it was an Englishman charged with this latest blockbuster interpretation of Napoleon’s influence only fuelled the anticipation. Most of us welcome a foreign take on our history and cultural heritage, perhaps even more when it comes from a former best enemy. This cross-cultural experience fosters fascinating exchanges and conversations. How many musketeer, Sun King and Marie Antoinette stories has Hollywood churned out since the birth of cinema? We have lost count. How many Joan of Arcs? There was Ingrid Bergman, Hedy Lamarr, Jean Seberg, Milla Jovovich, not to mention the unforgettable Renée Falconetti in Carl Theodor Dreyer’s masterpiece.
