The saying "behind every great man is a great woman" is usually not applied to the two wives of Napoleon Bonaparte: the Empresses Josephine and Marie Louise. In fact, the phrase, "Not tonight, Josephine" is used as a byline for turning down sex. However, can that phrase be applied to one of his mistresses? Conquest is surprisingly embracing of adultery and out-of-wedlock childbirth, shocking at a time when the Hays Code was being enforced. Lavish if a bit overacted, Conquest is better to look at than to watch.
Countess Marie Waleska (Greta Garbo) is devoted to her much older husband Anastas (Henry Stephenson). She, however, loves three things: her brother Paul (Leif Erikson), Poland and the Emperor Napoleon (Charles Boyer). She sees the Emperor as a champion of the people, one who will restore an independent Polish state. Her ardor is so great that she sneaks into his camp, where Napoleon is enchanted by this beauty. As fate would have it, Anastas has arranged an audience with Napoleon at a ball, where the Emperor and the Countess begin a flirtation.
The Polish aristocrats essentially pimp Marie out for Poland, begging her to use her feminine wiles to seduce Napoleon into reestablishing Poland as an independent state. Soon, they become lovers and then they fall in love. Anastas has his marriage annulled and Napoleon divorces Josephine, which works out for Marie, who is expecting a child. Unfortunately, Napoleon has opted to marry a Hapsburg princess to create a new royal bloodline. Marie does not tell the Emperor of his new child, though she does tell Napoleon's mother Laetitia (Dame May Whitty).
As Napoleon rises, falls, is exiled to Elba and then attempts a comeback, Marie eventually goes to him and reveals their child Alexander to him. Will our lovers be truly together, or will history conspire to keep them apart?
If anything, Conquest is lavish with a capital L. The film received two Oscar nominations, one of them for Best Art Direction. It more than earned that nomination, for Conquest has grand sets that sometimes overwhelm the audience. Of particular note is when at the Emperor's welcoming ball. The palace is opulent and massive, filling the screen with its grandness.
Even in scenes that do not require such visual splendor, Conquest delivers. An effective moment is during the French retreat from Russia. Napoleon is berated to his face by a soldier who initially does not recognize him. The sets provide a plausible Russian winter, which gives the scene an extra touch of sadness at how Napoleon's arrogance has led to misery for his men.
The second nomination was for Charles Boyer as Best Actor. Here, I will quibble with the nomination. I found his performance acceptable. He does have some good moments, such as when attempting to learn to dance. The sight of the Conqueror of Europe attempting to cut a little rug brings a touch of levity to something as opulent as Conquest. The aforementioned scene of his retreat is also effective. However, for the most part, I found Boyer a bit exaggerated as Napoleon.
He and Garbo had an unofficial battle of accents (his French vs. her Swedish), and while they are playing foreigners, it does lend an accidental level of humor; sometimes their scenes together seemed a bit overly dramatic. A case in point is when Marie goes to Elba to reunite with Napoleon and introduce him to his hereto unknown son. As Napoleon goes on about his decision to return, they both started becoming almost unrealistic in playing her disillusionment and distress to his blind ambition.
I think today people would look upon Garbo as also slightly exaggerated in her manner. However, she more than makes up for any overacting with her luminous quality. As she sees Napoleon ride off, Garbo's tearful eyes glisten, making her look more beautiful.
The supporting cast was better, particularly the female supporting players. Marie Ouspenskaya and Dame May Whitty are not in Conquest long. However, they both lend Conquest a bit of humor to what could have been a stodgy period film; there is a great scene where Napoleon calls on Marie. Ouspenskaya, as the addled Dowager Countess, does not recognize the Emperor and thinks that he is merely the corporal Napoleon told her that he was. While playing cards, the illogic of the Dowager Countess' beliefs builds to a humorous rage, with her violent anger and threats to call on Louis XVI to deal with this impertinent soldier almost charming.
The same goes for Dame May Whitty as Napoleon's mother. Initially hostile to his son's newest mistress, her imperious manner soon gives way to an almost motherly affection. Whitty also has a great scene with Boyer when Napoleon is on Elba, advising him that looking through his telescope won't bring France any closer.
The male supporting cast did not fare as well, all of them coming across as stiff and grand.
Conquest is worth watching for the grand sets and the beauty of Greta Garbo. You also have fun turns from Marie Ouspenskaya and Dame May Whitty to enjoy. While I found the leads a bit overly dramatic, I think Conquest met its goal to tell its story of epic love.
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| 1786-1817 |
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