The Emperor’s New Clothes 1991

In 1821, Napoleon Bonaparte—after six years in exile on the island of Saint Helena—hatches a daring plan to reclaim his throne: switch places with a lowly French deckhand, Eugene Lenormand, and slip back to Paris to reclaim power. At first, the scheme seems elegant in its audacity, a bold gamble that could restore the ruler’s grasp on France without a drawn-out battle.

Yet the best-laid plan starts to unravel the moment the ship’s itinerary is abruptly changed, steering Napoleon toward Belgium instead of France. Forced to travel by land, he confronts the disillusioning sight of what Waterloo has become for tourists and gawkers. At the French border, a loyal agent, Sgt. Bommell, formerly of the Imperial Guard, greets him and points him toward a trusted contact in Paris, Lt. Truchaut. But upon arrival, Napoleon discovers that Truchaut has recently died. Adopting the persona of an old comrade, he accepts hospitality at Truchaut’s home, where the widow, Nicole and fondly nicknamed “Pumpkin,” receives him along with her lodger, Dr. Lambert, and her adopted young son, Gerard.

Back on Saint Helena, the plan’s fatal flaw reveals itself: Eugene has grown attached to the comforts of Napoleon’s exile and refuses to reveal the switch. Napoleon’s French entourage find themselves powerless as Eugene indulges in sweets, dictates a bawdy version of Napoleon’s memoirs, and even deceives his British captors into believing he is the real emperor. With no news from the island, Napoleon becomes entangled in Pumpkin’s life, bringing his own organizational talents to bear on her fragile fruit business. His practical sense revives and stabilizes the enterprise, and the work begins to prosper again.

As the bond between Napoleon and Pumpkin deepens, Dr. Lambert—whose affections for Pumpkin run as strong as his ambition—hurls himself into the hunt for dirt on the enigmatic “Eugene.” His search reaches a pivotal moment when he discovers a small cameo portrait of Napoleon’s young son, a clue that the man calling himself Napoleon may not be whom he seems. The truth tightens its grip: Eugene’s disguise is exposed, and the global illusion he has spun begins to crumble.

On Saint Helena, Eugene suddenly dies from a stomach ailment. The British commander lays out the grim options: either reveal the fraud and face severe punishment, or maintain the illusion and risk nothing but logistical stability. A stark line is spoken by the garrison’s commander, captured in the film’s memorable moment: > Gentlemen, what we have here is a dead emperor.

Back in Paris, the real Napoleon learns that his “death” has been announced to the city—and he seizes the chance to reclaim his place. But Pumpkin, who has grown to love the life and the man she believes Eugene to be, recoils in horror at the idea of losing him to the throne. Lacking a loyalist backbone in Paris, Napoleon finds himself an emperor without an army, and a friendless figure in a world that has moved on without him. He turns to Dr. Lambert, who holds the key to the truth and relishes his moment of control.

Lambert lures him onto the grounds of a sanatorium, where dozens of patients parody Napoleon as the guards and attendants prepare for the capture of the real emperor. Napoleon escapes, suffering a painful hand wound from the top of the escape’s defenses, and returns to Pumpkin’s home. There, her voice and touch soften the hardness in him as she whispers that he is her Napoleon, offering a different kind of crown—a life together in quiet dignity rather than theatrical power.

Gerard, the adopted son, becomes the most intimate witness to the truth; through his eyes, the audience learns the real sequence of events that led to the imposture and its unraveling. He believes the story he has heard, and the tale’s final steps unfold with quiet poignancy. Napoleon decides that happiness lies in a simple life with Pumpkin. He destroys most of his relics, keeping only his old Imperial Guard uniform as a token for Sgt. Bommell—a small gesture that signals the end of one era and the gentler memory of another.

An afterward note closes the film by stating that Napoleon lived out his days in Paris and was buried beside Pumpkin, while Eugene Lenormand’s body was returned to Paris and interred with honor in Les Invalides. Gerard’s retelling frames the legend, preserving a memory of a man who sought a throne but found something more enduring in the human capacity for love, loyalty, and quiet heroism. In a story where identity is a fragile currency, the ending suggests that the true legacy lies not in crowns but in the connections we leave behind.