Film Review: The Last Duel

Words: Beth Green
Thursday 21 October 2021
reading time: min, words

Ridley Scott’s latest is a rape-revenge movie with a difference...

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Director: Ridley Scott
Starring: Matt Damon, Adam Driver, Jodie Comer
Running time: 152 minutes

Set in Medieval France, Academy Award winner Ridley Scott brings us his latest epic, The Last Duel. Adapted from the book of the same name, it tells the true story of betrayal and power in a time that was often unjust. The film plays out in a Rashomon-style structure, with three separate accounts told in three separate chapters, which becomes slightly repetitive at times. Though, it is also this narrative tool that gives the film a unique edge when re-telling the story. 

Hearing first from Jean de Carrouges (Matt Damon, in what is notably one of his best acting performances), we see an overly confident, defensive character give his account of his wife Margueritte's attack. His performance shines particularly when his jealous obsession to outdo his former friend and traitor Jacques Le Gris becomes more and more apparent. Once the allegation of rape against Le Gris comes to light through Carrouges’ account, we witness a heroic husband desperate to avenge his wife. Though it is perhaps more tangible to suggest that what was most appealing to him was the chance to repair his own ego and crush an old friend.

It is then the turn of the accused squire, Jacques Le Gris (Adam Driver), to give his account. In contrast to the brave, bolshie persona of Carrouges, Le Gris excels in what he lacks – intelligence. This, paired with a cool, calm charisma has many women left feeling weak at the knees. It’s a clever casting that portrays what is so often shown in real-life – the notion that an attractive, likeable person would have no need to carry out such a crime. He is a trusted nobleman, made captain of Bellême over Carrouges. What reason would the noble heir have to lie?  We see the crime play out in a heavily misogynistic take, that leaves the liberal, modern-day viewer left speechless. Le Gris’ archaic account plays down the attack, instead patronising and limiting Margueritte to a helpless female that ultimately wanted what he gave her – a familiar tale of “she was asking for it,” regularly heard today. This section of the film mirrors the injustice of our own legal system, that has too often failed to believe what so many victims have experienced.

Scott’s love of gore and violence outdoes itself in this penultimate scene...there is a sense you are a real spectator to this final battle

It is in the final chapter of the film that we hear from Margueritte (Jodie Comer). A structurally sound choice, placing the real truth at the end as the anticipated viewer longingly awaits her account. Comer gives an explicably poignant performance, sharing her struggle for justice in solidarity. This thematic issue of power has become ever-more apparent in modern society; a woman’s right to be heard, in a heavily patriarchal environment. This chapter, features the most harrowing scene, yet manages to bring a sense of relief, following the bubbling frustration felt after hearing her male counterparts’ view. Comer’s performance is subtly brilliant. The message of inequality amongst women is put across, while managing to remain sensitive to the issue. 

The difference here is the revengeful aspect of the film. It is not Margueritte who seeks revenge – rather, it is done indirectly via her husband Carrouges. In a desperate act, risking both of their lives, he challenges Le Gris to a duel of death before the King. Ridley Scott’s love of gore and violence outdoes itself in this penultimate scene; filled with shaky camerawork and satisfying blood splatters, there is a sense you are a real spectator to this final battle. It would be fair to say that this film lacks some originality and tires at points, though there is an overpowering awareness – albeit somewhat flawed – that justice will be served. Despite its issues, there is a theme of belonging portrayed in the final frames, echoing the strength in numbers community that arose from the breakthrough #MeToo movement.

Did you know? The Last Duel is the first film to be co-written by Ben Affleck and Matt Damon since they won the Oscar for Best Original Screenplay for Good Will Hunting in 1998.

The Last Duel is in cinemas now

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