Ridley Scott‘s latest cinematic venture, “Napoleon,” showcases the unparalleled skill of Polish cinematographer Dariusz Wolski. This grand-scale biopic, recently presented at the Camerimage cinematography festival in Poland, brings to life the tumultuous era of Napoleon Bonaparte with an unprecedented realism and visual grandeur. Wolski’s meticulous approach to recreating historic battles, such as Austerlitz and Waterloo, highlights the vast brutality and strategic genius of the Napoleonic wars.
Wolski, known for his work with directors like Tim Burton and on major franchises such as “Pirates of the Caribbean,” faced a unique set of challenges in “Napoleon.” Wolski’s challenge in capturing the essence of battles like Austerlitz and Waterloo was not just about scale but also about realism. This required not only exhaustive planning and coordination but a level of creativity that only a few can master. Wolski remarks, “You’re basically creating a huge event. You have army personnel, extras trained to behave like soldiers from the 19th century, you have horse people, then we have armor, professional effects people, explosions, then you have main characters. You basically design the whole battle.”
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The filming process, as Wolski describes, was a complex one. Ridley Scott, a master of his craft at 84, a director known for his unique approach, was filming with multiple cameras, often eight or more, to capture every possible angle. This method, as Wolski explains, is akin to editing while filming. Such a technique might overwhelm most, but Scott, with his years of experience, has honed this method to near perfection.
The film’s battle scenes, although augmented with CGI for scale, relied heavily on real formations of soldiers, cavalry runs, and cannon fusillades, filmed with hundreds of extras. This approach contrasts sharply with older epics, which would have required thousands of extras for a similar effect. The use of special effects mainly served to amplify the scale of these battles, creating an immersive and realistic experience.
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However, “Napoleon” is not just about battles. It delves into the personal life of one of Europe’s most iconic figures. The film portrays the growing intimacy and tension between Napoleon, played by Joaquin Phoenix, and his love, Josephine, portrayed by Vanessa Kirby. Wolski’s technique of allowing actors space for improvisation on camera added a layer of authenticity to these emotional scenes, capturing a blend of aggression and tenderness that feels spontaneous and real.
The film also pays homage to Stanley Kubrick’s unfulfilled project on Napoleon. Wolski acknowledges Kubrick’s influence, particularly in the candlelit shots that capture courtly life with natural illumination, reminiscent of Kubrick’s work in “Barry Lyndon.” These intimate scenes provide a stark contrast to the colder hues used in the depiction of Napoleon’s campaigns, such as the disastrous Russian conquest.
Wolski’s touch is also evident in the film’s nuanced portrayal of pre-electricity lighting, balancing the authenticity of historic settings with the practicalities of filming. His expertise in capturing the essence of different lighting conditions adds depth to the narrative, enhancing the film’s visual storytelling.
Lastly, Wolski, who emigrated to the U.S. during the Cold War, subtly incorporates Polish elements into the film. Viewers can spot Polish insignia and flags among the armies, a nod to the diverse composition of Napoleon’s forces.