Showing posts with label Napoleon. Show all posts
Showing posts with label Napoleon. Show all posts

Tuesday, 28 November 2023

Napoleon: the many wrongs and one right of the new biopic


 Ridley Scott’s Napoleon is baffling. From the get go, the miscasting of Joaquin Phoenix as the eponymous antihero is fatal. The actor looks every day of his fifty years, and yet he plays Napoleon from the age of 27, when he first made his mark on the bloody post-Revolution scene of a France in the throes of the Terror. Phoenix’s Napoleon mumbles unintelligibly throughout the film, and is as stripped of charisma as he is of energy, which flies in the face of the historical record of a dynamic leader who commanded the loyalty of his armies and the adulation of the masses of his countrymen. Scott’s Napoleon is a caricature, petulant, childish, boorish, besotted with Josephine and putty in her hands. 

The historical Josephine was a few years older and more worldly than the young Bonaparte, whereas Vanessa Kirby, who plays her, is decades younger than Phoenix, which changes the whole dynamic of the onscreen relationship. Kirby does not seem to have a grip on her role, playing Josephine as mindlessly promiscuous, unfaithful, and alternately Napoleon’s muse and his victim. The sex scenes between them are so joyless and off putting that it is hard to believe in a grand passion. 

I was particularly attentive to the brief scenes set during Bonaparte’s campaign in Egypt, having studied it extensively for my historical novel The Naqib’s Daughter. There is no record of Bonaparte firing a cannon at the top of the Cheops Pyramid. Moreover, it is hard to believe that he left his army stranded in Egypt and escaped back to France because he heard that Josephine had taken a lover, rather than because, supremely ambitious as he was, he realized that his mission in Egypt had failed and history would pass him by while the real action was taking place on European soil. 

Rupert Everett’s cameo as Napoleon’s nemesis the Duke of Wellington is equally one-note, a permanent curled lip of aristocratic disdain and an apocryphal sense of English fair play, a portrayal that reminds the viewer that Ridley Scott is an Englishman. 

So, to sum up, why should a prospective viewer watch this two and a half hour film, but only on the widest possible screen in a theatre ? Because of the gorgeously reproduced landscapes of the battle scenes, familiar paintings come to life, history unfolding, Austerlitz, the march on Moscow. That is Ridley Scott’s forte. That is where we get a glimpse of the military genius behind the historic victories and the ultimately arrogant overreach of the Corsican who came from nothing and conquered Europe before he lost everything. 

The closing credits enumerate the hundreds of thousands who died in battle in the Napoleonic wars. But if Scott’s intention is to condemn wars of ambition, why then are the battle scenes rendered so glamorously? Baffling.



Monday, 27 April 2020

Covid-19: what would Bonaparte have done?


When General Bonaparte prepared to invade Egypt in the summer of 1798, he was warned that he would face three enemies: the English, the Ottomans, and Islam. What no one could have predicted was a fourth: the plague. How the French dealt with it is as much an indication of the ethics and science of their time as how we deal with our current pandemic crisis is revelatory of ours.

The pestilence could not have broken out at a worse time. Nelson’s navy had sunk the French fleet in the Bay of Aboukir off the coast of Alexandria, leaving Bonaparte’s “Army of the Orient” stranded in Egypt and hemmed in by a British and Ottoman blockade. Cairo had erupted in bloody revolt against the occupation, and the even bloodier repression that followed left the French bunkered behind a ring of garrisons.

It was against this backdrop that the plague reared its head in Egypt in the winter of 1799. The chief French physician accompanying Bonaparte’s army, Docteur Desgenettes, recognized the bubonic plague —no stranger to Europe—but avoided the dread word “plague,” referring to it as “the epidemic,” much as the world took its time to acknowledge that Covid-19 was indeed a pandemic. The French took draconian measures to lock down the city of Cairo, and anyone caught scaling the city walls was shot. To contain the spread of the pestilence among the troops, “social distancing” from prostitutes was strictly enforced: thirty Egyptian prostitutes who were caught consorting were drowned.

Medicine, physicians and beds were in short supply in the three hospitals the French set up, so then, as now, hard questions arose: are all lives equal, or do we choose who deserves saving? In each era, a society’s ethics are reflected in the decisions made in such crises. In today’s pandemic, prioritizing who gets the last available ventilator in extremis is framed in terms of age and survival chances. In Bonaparte’s Egypt, ethnicity and religion were prioritized. Apart from the French themselves, only civilians from the European and Syrian Christian communities were admitted to the French hospitals, and Claude Royer, the chief pharmacist, had orders to dispense medications only to members of these two communities.

But other measures were taken to contain the plague among the native population, some of which will have a familiar ring to us today. Festivals and celebrations were banned, to limit congregation, and pilgrimage to Mecca was cancelled, just as it is this year of 2020. So was the slaughter of sheep for the annual Feast of the Sacrifice. Bedding was to be aired daily, and all raw food to be macerated in vinegar. A sick person was to be isolated from his family for forty days, and the entire household was to be strictly quarantined. A family that failed to report a sick member or neighbor to the police or who violated the isolation imposed on their household risked severe punishment. French soldiers did daily rounds of the city, inspecting house by house. As the locals would have balked at allowing a man to inspect the women’s harems, a local woman from each neighborhood was assigned to accompany the French soldiers. Then, as now with “aggressive contact tracing,” such extreme surveillance measures aroused suspicion as a sinister assault on privacy and liberties.

Hardest of all for the Egyptians to accept was the ban on holding funerals for their dead. How do you mourn when you cannot hold a funeral? How does your responsibility to society weigh against your deepest commitments to family and faith? Even today, we struggle with such questions.

But it is instructive to learn from a contemporary Egyptian account of the French occupation, the daily journal kept by the prolific historian Abdel Rahman al-Jabarti, that the harsh measures enforced by the French against the plague, resented as as they were at the time by Egyptians, were grudgingly conceded to have been partially effective in limiting its devastation. In every era, confronted with an existential threat, respect for science and scientists prevails over superstition or its modern equivalents.

But it was not only in Egypt that the French were beset by the plague. Bonaparte, who had launched a campaign against Ottoman-controlled Syria, found it waiting for him and his army in Jaffa. The French advance was initially victorious, but after the fall of Jaffa the plague began to seriously ravage the French army. Bonaparte set up a camp hospital there to administer to the diseased and pressed on with his campaign. The French were defeated before the impregnable walls of Acre and prepared to retreat from Syria back to Egypt. An appalling predicament arose: what to do with the plague-stricken French soldiers in the camp hospitals in Jaffa? Evacuating them was impractical if not unfeasible. Bonaparte ordered the chief physician, Docteur Desgenettes, to administer opium to the sick, arguing that it would put them out of their misery and lessen the chances of infecting other troops. Desgenettes, who had been selfless in fighting the epidemic, even going to the extent of inoculating himself publicly with pus from the bubonic sores, refused. In the event it was Royer, the pharmacist, who administered the fatal doses of opium.

In 1804, three years after the French evacuated from Egypt, Napoleon commissioned the painter Antoine-Jean Gros to immortalize him in the heroic “Bonaparte visiting the Plague-stricken of Jaffa.” History, however, recorded a far less glorious reality. Even today, it is debatable whether Bonaparte’s decision was humane or indefensible.

Two centuries later, when mankind shoots not just for the moon but for Mars, it is hard to believe that the world can still be caught short and ground to a standstill by disease. Harder still, that we grapple with the same ethical choices. We should prepare now for the next time we are tested, because we will be. When this is over, how will history judge us? Judge us it will.