Review by Ian Keogh
Book 3 opens in October 1812 and Napoleon’s forces are heading back from Moscow, not only having failed to defeat the Russian army, but now frozen and eating their own horses to fend off starvation. As seen at the end of Book 2, the Russians being used to the conditions and having prepared, are choosing their moments and inflicting massive casualties for minimum losses.
Napoleon is a far greater presence than he was in Patrick Rambaud’s earlier presentation as adapted by Frédéric Richaud and Iván Gil, a starring personality instead of a background power. His strategies, frustrations and decisions form a running commentary throughout Berezina, and the narrative is strengthened by that. Anyone who’s been wondering about the title is given the answer during one of Napoleon’s scenes. It’s a river he must cross before the Russians reach it offering the best chance of safety for his remaining troops. In the face of such disaster, let us not forget predicated on Napoleon’s ambition, we learn of some astounding feats of bravery in the name of duty, and learn of the horrors desperation prompts.
Among some subtle storytelling techniques is Richaud including the dropping temperature in narrative captions, and those on the sample spread relate the unfeasibly harsh conditions under which the French are working to escape.
Just how much work did Gil put into Berezina? At first glance the scenery on the sample spread seems simple, but well populated. Enlarge it, though, and you’ll notice just how far into the background he’s providing detail on those people. It’s not necessary, but you know an artist taking that much trouble isn’t slacking off in other areas. You see that anyway with the number of people in every panel, in what those people are wearing and how they’re increasingly drawn and haggard.
The retreat is humanised by Roque, the official in love with an actress and hoping against hope she’s among the diminishing number who’s survived to reach Berezina, while other actors who’ve so far seemed a distraction justify their presence with a good scene in the penultimate chapter. There’s a great closing sequence, and the book finishes with a tragically powerful map detailing the French losses in stages from the start of their march on Moscow. Fewer than 1% made it back to France.
Berezina may have begun a little too slowly, but from halfway portrays unimaginable horror and heroism to bring you to tears.
