2023-11-24 08:51:41
News culture Napoleon explodes Transformers on the pyramids of Egypt: the Ridley Scott film parodied and it’s hilarious
Published on 11/24/2023 at 09:51
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Released this week in theaters, Napoleon is Ridley Scott’s new big show. A high-level experience if we are to believe the first opinions, but nevertheless decried by historians. Once once more, it is Internet users who win this debate with a hilarious parody which pits the French Emperor once morest… Transformers.
Napoleon at war with the Decepticons
It’s the cinema event of the week: Napoleon, Ridley Scott’s latest project, has just been released in cinemas. A nuanced portrait of the French Emperor, this film is less a realistic biopic than a great epic of war and blood if we are to believe the critics. The British filmmaker has proven time and time once more that life-size battle sequences are one of his specialties. Which doesn’t stop critics from pointing fingers at his work here.
According to historians and specialists, with Napoleon, Ridley Scott would be signing an imprecise feature film, which lacks accuracy regarding the French historical figure and his war actions. Among the criticized sequences, we find the conquest of Egypt by the Emperor. This “controversy” visibly amused Internet users, who decided to provide a perfect response. For regarding a week, a parody montage pitting Napoleon once morest the Decepticons has been circulating on the web. A montage made from sequences taken from Transformers 2: Revenge which finally brings the fidelity that historians were looking for.
A film that sparks debate
This parody brings a little lightness to the debate which taints the release of Napoleon, particularly in France. As said previously, French historians point out the numerous errors of representation made by Ridley Scott with his biopic.
Whether by rewriting or omitting important historical facts, the filmmaker has, it seems, shaped a fantasized vision of Napoleon, a bitter observation for some which reopens the debate on the legitimacy of cinema regarding the representation of historical facts, but also its responsibility in the face of history. Regarding this point, Ridley Scott does not seem to have much to do with it. The director did not mince his words in the face of criticism and even directly attacked the French with his now legendary outspokenness. Finally, this controversy perhaps fails to mention the viewer himself, who must know how to step back sufficiently to digest the film as such, or as a work of fiction.
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