The release of a film about Napoleon in Corsica inevitably takes a special turn. In this land where the emperor was born, symbols are still important. And Ridley Scott’s film does not leave you indifferent. Proof of this can be found in the preview organized by the management of the Ellipse cinema in Ajaccio and the municipality. Guard of honor of the association of the 2nd regiment of foot soldiers of the guard, flutes and drums, imperial dances on the program and in period costumes in front of a packed room.
It remains to be seen whether the film lived up to expectations for the Corsicans. If opinions are mixed, disappointment still dominates the reactions of the islanders. Like Alain, 65, fresh from a half-filled screening at the Régent, one of Bastia’s cinemas: “It’s historically disappointing. That doesn’t mean it’s not fair. But there is an Anglo-Saxon bias. We are still facing a great spectacle with undeniable image quality.”
For Marc, 71, retired from Bastia, expectations are met: “Ridley Scott is true to himself. He did not save money on the staging. There is still a big error on his date of birth. Smiles on their lips, Frédérique, 48 years old, and Pauline, 57 years old, have just had a good time: “It’s a good film, a great spectacle with great actors. Don’t expect a historical fresco. It was not the relationship with Corsica that pushed us to go see this film. We are not in corsitude at all costs.”
Far from the cultural clash between Pascal Paoli, father of the Corsican nation more anchored in Haute-Corse and Napoleon, deeply Ajaccian, island spectators prefer to focus on the cinematographic aspect: “There is no scene that evokes Corsica in the film,” notes Geneviève, 72 years old. “Some criticize the fact that there is no reference to the island. But this is normal from a historical point of view. On the other hand, I find that the director took a lot of liberties with the historical truth. This very naive American side is unbearable. As a history buff, I am disappointed.”
Henriette, 82, her friend, is more nuanced in her criticism: “Ultimately I don’t really know what Corsica expected from this film. Perhaps he should have called her Joséphine given the importance this character has taken. There is still an enormous amount of work involved, particularly in filming the battles. And there are these Corsican songs which resonate in a moment of grace.” Ultimately, it’s the Corsican touch that brings everyone together in this film. The sound of Kyrie Eleison, sung in polyphony by Jérôme Casalonga and the Barbolosi brothers. The lamentu di u pastore and the Tribbiera de Voce di a Corsica also resonate with the voice of Petru Guelfucci. The only island leg of a production that passed like a UFO on the island of beauty.