The Last Duel (2021) 20th Century/Drama-Action RT: 152 minutes Rated R (strong violence including sexual assault, sexual content, some graphic nudity, language) Director: Ridley Scott Screenplay: Nicole Holofcener, Ben Affleck and Matt Damon Music: Harry Gregson-Williams Cinematography: Darius Wolski Release date: October 15, 2021 (US) Cast: Matt Damon, Adam Driver, Jodie Comer, Ben Affleck, Harriet Walter, Nathaniel Parker, Sam Hazeldine, Michael McElhatton, Alex Lawther, Marton Csokas, Zeljko Ivanek, Clive Russell, Adam Nagaitis. Box Office: $10.9M (US)/$30.6M (World)
Rating: ***
Ridley Scott has long fascinated me. He’s a talented director with an impressive list of credits that includes Alien, Blade Runner, Thelma & Louise, Gladiator, Black Hawk Down, Kingdom of Heaven, American Gangster and The Martian. He also made 1492: Conquest of Paradise and The Counselor, but I won’t hold either of those against him. He tends to favor style over substance, but he has a visual sense unlike any other filmmaker. It’s currently on display in The Last Duel, a fact-based medieval drama about the last officially sanctioned judicial duel fought in 14th century France. As a movie, it’s intriguing throughout, but suffers from some miscasting.
The story, told Rashomon style, centers on the titular duel between Sir Jean Carrouges (Damon, The Martian) and Jacques Le Gris (Driver, aka Kylo Ren), one-time friends who have a big falling-out after Jean’s wife Marguerite (Comer, Killing Eve) accuses Jacques of raping her while her husband was away. When Jacques denies the charges brought against him, Jean challenges him to a duel to the death in order to restore his honor. There’s more than just his honor riding on the outcome of the fight. If he loses, Marguerite will be killed too.
The Last Duel is told in three “The Truth According to…” chapters, a recounting of the events leading up to the duel by the three major characters. Details differ according to whose perspective it is. Jean makes himself the victim of disrespect and derision by his liege Count Pierre d’Alencon (Affleck, The Accountant) while Jacques makes him out to be a petulant jerk. They all remember a brief kiss a little differently. Pay close attention to the expression on Marguerite’s face. By way of driving home a point, the words “the truth” stay on screen a tad longer when it’s Marguerite’s version of events. Among other things, we join her in disbelief when her husband claims to be the real victim, saying it happened to him.
I think we all know The Last Duel is making a statement about the treatment of rape victims today and how it hasn’t changed all that much in 600 years. It’s a historical epic for woke culture. It makes its point. That’s all that really needs to be said about that. And don’t think I’m trying to diminish the importance of the issue, I’m not. I just want to move past it and focus on its entertainment value.
For the most part, I like The Last Duel. It’s a compelling film that bears the distinctive visual style for which Scott is known. The production design is AWESOME! It reeks of authenticity. The sets, costumes and chilly interiors transport the viewer to 14th century France. The man is an artist in every sense of the word. It isn’t all him though. He receives a more than ample assist from master cinematographer Darius Wolski (Dark City) who bathes the film in a bleak, gray palette.
Unfortunately, a couple of poor casting choices get in the way of The Last Duel achieving total greatness. I’ve long felt that Affleck is a better director than he is an actor and he proves it here with his wrongheaded performance. He acts more like an entitled frat boy than a rich landowner. His character doesn’t just border on ridiculous; he crosses over and sets up camp in the territory. Damon, as Jean, is just okay. That is to say, he’s not as bad as his best buddy and writing partner Affleck, their first collaboration since their Oscar-winning screenplay for Good Will Hunting. It’s one of Damon’s serious performances meaning he wears a sour expression the entire time. He’s not exactly terrible, but I didn’t really buy him as a medieval knight.
On the upside, Comer does tremendous work as the wronged wife who learns just how difficult it is to be a woman in the 14th century. When she tells her husband what happened to her, he blames her for it before forcing her to have sex with him. He treats her more like property than a partner. She’s strong and refuses to stay silent even when threatened with death. Driver is also quite good as the villain of the piece, an entitled POC who has everything handed to him. Add rapist to his list of poor character qualities and you have a guy that deserves to die.
As for the finale, the duel is pretty amazing. It’s brutal, exciting and bloody. It’s also a well-choreographed piece of work. In short, it’s cool! In the end, The Last Duel is a good movie that misses greatness by this much. It’s not always easy to watch, but it entertains while making an important point about a timely and timeless issue.
