As awards season heats up in Hollywood, one highly anticipated blockbuster film of 2023 will face the disappointing reality of being less decorated than its eponymous 18th century-born Corsican military hero. With four wins (including two satirical 「Yoga」 awards) and 39 nominations, to Oppenheimer's more than 300 wins out of nearly 400 various nominations, Ridley Scott's Napoleon has apparently faced its Waterloo.
随着好莱坞颁奖季的升温，一部备受期待的 2023 年大片将面临令人失望的现实: 它所获奖项相较于那位同名的18世纪的科西嘉军事英雄来说，实在有些黯然失色。 【奥本海默】在近 400 项各种提名中获得了 300 多项，相比之下, 雷德利-斯科特的【拿破仑】只获得了 4 项大奖（包括两项讽刺性的 "瑜伽 "奖）和 39 项提名，【拿破仑】显然遭遇了滑铁卢。
At the box office, Napoleon, with its almost three-hour runtime, has also fallen short. The film is listed as number 43 in the top-grossing films of 2023 behind PAW Patrol: The Mighty Movie and Trolls Band Together (Box Office Mojo). Popular reviews of Napoleon hover between 2/5 (rogerebert.com), 58% (Rotten Tomatoes) and 6.4/10 (IMDb). British and U.S. film critics were mostly positive, while their French counterparts were unanimously disparaging. The right-wing newspaper Le Figaro compared Napoleon and Joséphine to 「Barbie and Ken under the Empire.」
在票房方面，【拿破仑】近三小时的片长也不尽如人意。该片在 2023 年最卖座影片排行榜上位列第 43 位，仅次于【汪汪队立大功大电影2】 和【魔发精灵3】（Box Office Mojo）。【拿破仑】的大众评价介于 2/5 (rogerebert.com) 、58% (Rotten Tomatoes) 和 6.4/10 (IMDb)之间。英国和美国的影评人大多持肯定态度，而法国同行则一致持贬低态度。右翼报纸【费加罗报】将拿破仑和约塞芬比作 "帝国下的芭比和肯"。
The movie reflects filmmaker Ridley Scott's approach to the genre of historical epic, through which he creates a mirror to reflect, explore, and comment on the contemporary world of his audience. Historical inaccuracies abound, but do not matter. 「Get a life!」 blasts Scott to this kind of criticism. This is cinema where the story and the meaning for the audience have more value than strict adherence to facts, and where a little fiction may hold more truth than expected.
这部电影反映了电影制作人雷德利-斯科特对历史史诗类型片的态度，他通过这部电影创造了一面镜子，来反映、探索和评论观众所处的当代世界。尽管有很多地方不符合史实，但这并不重要。对于这种批评，斯科特经常猛烈地回应： 「干点正事吧！」 在这部电影中，故事和对观众的意义比严格遵守事实更有价值，有时一点虚构的情节可能比想象的更真实。
Since the beginning of film history, directors have been adapting the past to fit the big screen, often focusing on individuals such as Joan of Arc (Méliès 1900; Dreyer 1928); Napoleon (Gance 1927); and Alexander Nevsky (Eisenstein 1938). Such early films firmly ensconced the historical epic film in a cinematic tradition that blends fiction and fact. Over time, with advances in technology from hand-coloring of film reels to widescreen format, CGI, and VFX, directors have negotiated historical realism with their audience.
自电影史诞生以来，导演们就一直将过去的历史改编成适合大银幕的影片，通常以圣女贞德（梅里爱，1900 年；德雷尔，1928 年）、拿破仑（甘斯，1927 年）和亚历山大-内夫斯基（爱森斯坦，1938 年）等人物为主题。这些早期影片将历史史诗片牢固地纳入了虚构与事实相结合的电影传统。随着时间的推移和技术的进步，从胶片卷轴的手工着色到宽银幕格式、CGI 和 VFX，导演们与观众共同探讨历史的真实性。
Perhaps none more so than Ridley Scott, who has produced six historical epics (including Gladiator II, to be released in 2024), in addition to one biblical epic, five science fiction films, six thrillers, several dramas, and two comedies. And yet, as with Napoleon today, his film epics have often been criticized for historical inaccuracies. So why have they persisted? Precisely because Scott's historical epics are provocative and uncomfortable in the present. These films demand that we engage with the issues they raise—from colonialism to democracy.
雷德利-斯科特可能是其中的佼佼者，他已经拍摄了六部历史史诗片（包括将于 2024 年上映的【角斗士 II】），此外还有一部圣经史诗片、五部科幻片、六部惊悚片、多部剧情片和两部喜剧片。然而，就像今天的【拿破仑】一样，他的电影史诗片也经常被批评与历史不符。那么，它们为什么会持续存在呢？恰恰是因为斯科特的历史史诗具有煽动性，让人在当下感到不适。这些电影要求我们关注并参与到它们提出的问题中来——从殖民主义到民主。
In Gladiator (2000), Maximus (Russell Crowe) and Commodus (Joaquin Phoenix), hero and anti-hero, represent the battle for the Republic against imperial ambition at the beginning of the first millennium. The film's plot starts in 180 C.E. Marcus Aurelius, emperor and father of Commodus, has appointed Maximus as regent until the Republic can be restored, after declaring Commodus unfit to rule as emperor. Commodus, however, murders his father, stages a coup, and enslaves Maximus. The film's climax ends with gladiatorial combat between Commodus and Maximus in the Colosseum, which leads to Maximus's death.
在电影【角斗士】（2000 年）中，英雄马克西姆斯（罗素-克劳饰）和反英雄康莫德斯（华金-菲尼克斯饰）代表了第一个千年之初共和国与帝国野心的斗争。电影的情节始于公元 180 年，康莫德斯的父亲、皇帝马库斯-奥勒留在宣布康莫德斯不适合当皇帝后，任命马克西姆斯为摄政王，直到共和国复国。然而，康莫德斯谋杀了自己的父亲，发动政变，并奴役了马克西姆斯。影片的高潮部分是康莫德斯和马克西姆斯在斗兽场的角斗，最终马克西姆斯战死。
The film is deeply inaccurate. Its conclusion implies wrongly that the Roman Republic was re-established and kills off Commodus (a victim of politically motivated assassination) in gladiatorial combat. But the film connected with audiences at the turn of the 21st century who were seeking affirmation about democratic ideals and the power of the people. Marcus Aurelius powerfully articulates this dream when he says to Maximus, 「I want you to become the protector of Rome after I die. I will empower you, to one end alone, to give power back to the people of Rome and end the corruption that has crippled it.」
这部影片严重失实。影片结尾错误地暗示罗马共和国已经重建，并且康莫德斯（政治暗杀的受害者）在角斗场上被杀死了。但是，这部影片与 21 世纪之交的观众产生了共鸣，他们正在寻求对民主理想和人民力量的肯定。马库斯·奥勒留在电影中有力地表达了这一梦想，他 对马克西姆斯说："我希望你在我死后成为罗马的守护者。我将赋予你权力，只为一个目标，将权力交还给罗马人民，结束使罗马瘫痪的腐败"。
During the film's production, George W. Bush was running his presidential campaign against Al Gore, with the ambition of succeeding President Bill Clinton. Bush lost the popular vote but became president in 2000 after a contentious contest that ended with the Supreme Court weighing in. The film's release inevitably invited comparisons between President George W. Bush and Commodus. Both were sons of leaders, who came into positions of power under controversial circumstances, and had reputations for levity and ethical ambiguities. Over the next few years, the film resonated even more with contemporary audiences as the invasions of Afghanistan and Iraq during Bush's presidency raised interesting points of comparison with the Roman Empire’s patterns of invasion and expansion.
在这部影片制作期间，乔治-W-布什正在与阿尔-戈尔竞选总统，立志接替比尔-克林顿总统。布什在2000年的总统竞选中虽然输掉了普选, 但在一场激烈角逐的竞选活动后，最终在最高法院的干预下成为了总统。 影片的上映不可避免地引起了人们对小布什总统和康莫多斯的比较。两人都是领袖之子，都是在备受争议的情况下掌权，都以轻浮和道德模糊著称。在接下来的几年里，这部影片在当代观众中引起了更大的反响，因为布什总统任期内入侵阿富汗和伊拉克的行为与罗马帝国的入侵和扩张模式形成了有趣的对比。
Five years later, Scott's Kingdom of Heaven (2005) made these connections to contemporary politics even more explicit. Released in the political and cultural aftermath of 9/11, the film revisits the Crusades, and specifically the time between the second and third crusades. Once again, the historical portrait is deeply skewed. The film's protagonist, Balian, is a blacksmith, who has just lost his wife to suicide following the death of their child. During the burial, Godfrey, the Baron of Ibelin, rides into the village in search of his son Balian, who has not known his father until this point. Balian ascends the social ranks from blacksmith to Baron of Ibelin after following his newfound father on crusade, ultimately forging an ahistorical and anachronistic analogy to the American dream.
五年后，斯科特的电影【天国王朝】（2005 年）更加清晰地展现了这些与当代政治的联系。该片在 9/11 事件后的政治和文化背景下上映，重温了十字军东征，特别是第二次和第三次十字军东征之间的历史。历史画面再次被严重扭曲。影片的主人公巴利安是一名铁匠，他的妻子在孩子死后自杀身亡。在葬礼期间，伊贝兰男爵戈弗雷骑马来到村子里寻找他的儿子巴利安, 而巴利安直到这时才知道他的父亲是谁。 巴利安在跟随自己刚刚相认的父亲进行十字军东征后，从铁匠晋升为伊贝兰男爵，最终与美国梦形成了一个不合历史、不合时宜的类比。
But Kingdom of Heaven had a clear message about contemporary American politics. The United States had just launched what President George W. Bush dubbed the "war on terror.」 His administration initiated an increased focus on national security through the introduction of the Aviation and Transportation Security Act and the USA Patriot Act.
但电影【天国王朝】对当代美国政治有明确的启示。美国刚刚发动了乔治-W-布什总统所称的 "反恐战争 "。他的政府通过出台【航空和运输安全法】和【美国爱国者法】，加强了对国家安全的关注。
These and other policies were associated with increased racial profiling at a time when racially motivated hate crimes were on the rise. The film, by contrast, presents secularized religions, and highlights points of commonality between different groups. Throughout the film, the battle cry 「God wills it!」 pierces the battle ranks of both Christians and Muslims. When Balian negotiates terms of surrender ensuring safe passage for the citizens entrusted to his care, he is respected by both Christians and Muslims.
这些政策和其他政策都与种族定性和种族识别行为的增加有关，而当时出于种族动机的仇恨犯罪正在上升。与此相反，这部电影展现了世俗化的宗教，并强调了不同群体之间的共同点。在整部影片中，"上帝的旨意！"的战斗口号贯穿了基督徒和穆斯林的战斗队伍。当巴利安通过谈判达成投降条件，确保受托的公民安全通行时，他受到了基督徒和穆斯林的尊重。
In short, Scott's construction of Balian's character is not an attempt to recreate medieval history. Rather, the character is an avatar for a contemporary American spectator living the Crusades through the lens of modern foreign policy.
简而言之，斯科特塑造巴利安这一人物形象并不是为了再现中世纪历史。相反，这个角色更像是一个当代美国观众的化身，他通过现代外交政策的视角讲述了十字军东征的故事。
The same dynamics are at play in Scott's Napoleon story, which is also less about historical accuracy and more a critique of the dictator for 21st century audiences concerned with rising authoritarianism across the globe. The very casting of Joaquin Phoenix as Napoleon, with his history of playing psychopathic characters such as Commodus and the Joker, sends a distinct message. Phoenix plays Napoleon anti-heroically, subtly and ironically undermining the 「great man theory」 of history. His Napoleon is odd, ill at ease, petulant, emotionally immature, and he gets what he wants more often than not. In a notable sex scene with Joséphine, Napoleon stamps his foot repeatedly, like an impatient stallion pawing the ground.
斯科特的【拿破仑】电影故事也同样如此，该片也不太注重历史的准确性，而更多地是为 21 世纪的观众批判这位独裁者，关注全球不断上升的独裁主义。华金-菲尼克斯曾出演过康莫德斯和小丑等精神变态角色，他出演拿破仑一角本身就传达了一个明确的信息。菲尼克斯以反英雄的方式扮演拿破仑，巧妙而讽刺地破坏了历史上的 "伟人理论"。他笔下的拿破仑性格怪异、桀骜不驯、脾气暴躁、情感不成熟，而且常常得偿所愿。在与约瑟芬的一场著名的性爱戏中，拿破仑反复跺脚，就像一匹不耐烦的种马在地上刨来刨去。
Napoleon is the latest in a series of Ridley Scott films that raise questions about contemporary political trends, interests, and anxieties through the genre of the historical epic. If we take a step back and look at our place in history against the foil of another era, where are we now and where are we going? Is democracy being overshadowed by dictatorial rumblings? Are we in an empire in decline? Are we winning or losing, and against whom? Where do we identify violence and barbarism in our society? Do we have a voice and who is telling our story? Are we repeating the mistakes of history? How will future audiences experience our history on screen?
【拿破仑】是雷德利-斯科特系列电影中的最新一部，该系列通过历史史诗的类型提出了关于当代政治趋势、利益和焦虑的问题。如果我们退后一步，在另一个时代的衬托下审视我们在历史上的位置，我们现在处于何种地位，我们又将走向何方？民主是否被独裁的喧嚣所掩盖？我们的帝国是否正在衰落？我们是赢了还是输了，输给了谁？我们该如何识别社会中的暴力和野蛮？我们是否有发言权，谁在讲述我们的故事？我们是否在重复历史的错误？未来的观众将如何在银幕上体验我们的历史？
While Napoleon may have a poor showing at the Academy Awards this weekend, it has used the landscape of history to ask important questions about the contours of modern politics. The fact that Gladiator II is in preproduction with a release date in November 2024, a mere three weeks after a historic presidential election, suggests that Ridley Scott’s films will continue to probe and provoke.
虽然【拿破仑】在本周末的奥斯卡金像奖颁奖典礼上的表现可能不尽如人意，但它却利用历史背景提出了关于现代政治轮廓的重要问题。电影【角斗士 2】正在筹备中，上映日期为 2024 年 11 月，距离历史性的美国总统大选仅有三周时间，这表明雷德利-斯科特的电影将继续深入探索和激发人们的思考。
