From “Blade Runner” to “The Duellists” to “Thelma and Louise,” director Ridley Scott is fearless in the range of material he uses for his films. Especially challenging was his choice to make a movie about Napoleon Bonaparte, whose military and political career has made him a historical icon and automatically a difficult role to fill. Casting Joaquin Phoenix, with his flawed face and mostly dour expressions, would not have been every director’s first choice, but by the end of this film, Phoenix has convinced us that he was right for the role.

Another challenge in making this film is handling the historical accuracy of the events covered in “Napoleon.” Helping Scott to do this is a well-written script by David Scarpa, who uses occasional “chapter headings” that keep us in the historical moment, and there are many memorable moments. Setting the tone for the kind of carnage that ensues during the French Revolution, the movie almost immediately depicts the horror of the guillotine beheading of Marie Antoinette and the waving of her severed head before a bloodthirsty crowd.

France’s revolt from its vastly privileged aristocracy was followed by the Reign of Terror with cruel leaders like Robespierre and Talleyrand. Not yet involved in politics, Napoleon is creating a reputation as a military genius able to win the naval battle of Toulon with cannons taken from the Anglo-Spanish Navy and then used against them. He still avoids conversing with Robespierre and other political leaders.

Napoleon continued to win battles on land and sea, overcoming the Austrian Army at the Battle of Austerlitz. Returning from that victory, he is feted at a celebration, where he spots a young widow, and his admiration for her beauty and confident demeanor causes him to stare at her. Not intimidated by his leering glances, she speaks to him, and one of the great romances in history blossoms as he falls in love with Josephine (Vanessa Kirby).

However, his military prowess takes Napoleon away from the lovely estate where he and Josephine, now married, reside. Soon, he is off to conquer Egypt. One of the few moments of quiet contemplation in this otherwise action-packed movie takes place when Napoleon faces the bound body of a mummified pharaoh. The scene might remind audiences of Shelley’s famous poem “Ozymandias,” which was probably written about the same time. Josephine writes to Napoleon during his long absence in Egypt. But rumors soon erupt, alluding to an affair that Josephine is having. Worried that these rumors are true, Napoleon appoints another general in command and returns to France.

The film “Napoleon” continues to follow the General, now Emperor, through his battles, the last, of course, being his final defeat at Waterloo. One problem that both the director and screenwriter are faced with throughout this movie is the conflicted feelings audiences will have toward its protagonist. Napoleon inspires some admiration for his ability to pull France out of its post-Revolutionary turmoil marred by the excesses of the Reign of Terror, yet Napoleon Bonaparte is a deeply flawed hero who was propelled as much by personal ego as the love of country.