This is a curious film, if not an original idea: toying with known facts of history and running another account behind it. In this case, it’s that after being exiled to the island of St Helena, Napoleon Bonaparte dies there on May 5th, 1851. However, for the purposes of this story, Napoleon actually escaped the island intent on returning victoriously into Paris and taking up where he left off with the British at Waterloo.

Imported by night to St Helena is the Napoleon lookalike Eugene Lenormand, who is exchanged for the vengeful emperor. Napoleon – no, let’s call him Napo - then learns how it is to be a commoner and work for a living on a boat as a lowly seaman. Arriving in France, and through a series of mishaps (mostly related to events beyond his control, or events he would usually have an aide to help with) he heads to Paris intent on speaking with his old soldiers. Believing their emperor is on St Helena, Napo must wait for the one man who will be convinced, but in the meantime must fit in with the working class. In trying to win friends and influence people, Napo drops clues to his identity and soon the local doctor is curious. Naturally, the doctor’s jealousy regarding a particular woman he likes plays a part, particularly when she takes a shine to Napo.

Meanwhile, on St Helena, the fake Emperor won’t admit he isn’t the real ruler of France, much to the consternation of his aides. Then the faker dies and Napo has an even harder time convincing anyone that he is who he says he is.

Honestly, it’s a mixed up, muddled up, shook up world, and after getting to the end, (an end which will be seen coming around the bend long before you get there) we’re left kinda flat and wondering if that’s it.

However, Ian Holm in the role of Bonaparte is sensational, using his full range of malevolence and stiff arrogance to portray the disgruntled emperor. He also plays the fake Napo, Eugene Lenormand, and does so just as brilliantly. As Eugene he enjoys the proceedings like a giddy schoolboy so well, it is easy to forget there aren’t two Ian Holms.

With some nice attention to detail in costuming and the streets, this has a particular feel to it, though that feeling isn’t always the comedy the film is billed as. There’s a more despairing air about it that doesn’t quite wash as comedy and creates more of a telemovie/dramatic feel. Still, it is an interesting watch, but not one I imagine people invading France to git their paws on.

The only major fault to strike here is this awful flickering/pulsing light wash near the beginning. What's worse, it showed up occasionally throughout the film. Usually in darker scenes, granted, but there are occasions on daylit shots. The other faults are less major, but apparent nonetheless. Some occasional artefacts are forgiveable as they don’t appear in any overbearing manner and sometimes the film does lean toward graininess. Shadows, too, take a little too much detail and the blacks are usually true, although there are instances where they go a deeper blue. And in one scene near the beginning, the conspirators are in an underground cave near the sea and the blacks are quite green within. The film is presented in 1.78:1 with enhancement so it has this going for it. Overall it isn’t a bad picture, but does show a little bit of a TV quality transfer.

The dialogue - not a word in French - is all rather clear and well spoken. In fact, French accents aren’t even common within this film about the French. And does it strike anyone as weird that there isn’t French audio or even subtitles for this film? However... The music is rather good actually. It isn’t overused or dominant and is well balanced throughout. Used as comedy every now and then, it also works well for the dramatic moments or the pompous moments. The music is entirely suited to the context whenever utilised for these various means, so that’s a big plus. Sound effects are a little reminiscent of a telemovie as well in their use of some stock tracks. There are a couple of door opening sounds in particular I’m sure I’ve heard a gazillion times before, plus the ancient classic: the ubiquitous fart. Sounding unlike any fart I’ve ever heard in real life (and I’ve heard over three in my time) but, due to their nature, are still funny.

As to extras, Not tonight, Josephine. (I’ve always wanted to say that and have it relevant to something. That explains the none out of ten for the extras, folks).

Napoleon was a teensy little dude with some hefty ambition, there’s no doubt about that. Perhaps in choosing to create a more gracious end than exile on a foreign shore, author Simon Leys gave Napoleon an end more befitting his standing. Or did he? The life after St Helena is certainly one different from that which history records, but whether it works is rather difficult to tell. Several writing clichés are utilised in the ‘seeing life from someone else’s perspective and changing yer evil ways’ and aren’t entirely effective.

I’m not sure how Napoleon enthusiasts will feel about this story, but it isn’t really disfiguring of his image (though it isn’t too endearing either). Let’s just say it’s rather middle of the road fare for an historical figure who was anything but.