Writing by Paul Jerome Watson, Image courtesy of Scott Free Productions
Ridley Scott’s filmography is one of mixed results. For every “The Martian” there is an “Exodus: Gods and Kings.” For every “Prometheus,” there is a “The Counselor.” For every “Alien,” there is a “Kingdom of Heaven.” Now at age 83, Scott has released a film that ranks among one of his best: “The Last Duel.”
“The Last Duel” is based on the real events surrounding the last officially recognized trial by combat in medieval France where a knight, Jean de Carrouges (Matt Damon), faced a squire, Jacques le Gris (Adam Driver), accused of raping his wife, Lady Margurite de Carrouges (Jodie Comer). The film is a contemporary piece about gender politics, the power of men, the role of women in society and how all these elements clash under specific circumstances.
After an explosive opening, the film slows down to individually flesh out its characters, each with their own chapters focusing on their motivations and perceptions of the world. This structure allows for the leads to deliver excellent performances as their characterizations change between each retelling of events, the two standouts being Damon and Comer. Damon expertly portrays both a selfless knight loyal to his nation and a man seemingly on the brink of a psychotic episode while Comer demands power, vulnerability, presence, reluctance and warmth in the various scenes she is present in.
Driver’s performance is another hallmark of the actor’s abilities, yet by comparison to Damon and Comer, Driver feels hindered, lacking a scenario that truly makes use of his talents. This is no fault of Driver himself; he gives a subtle, nuanced take on Jacques le Gris with enough charisma to bounce off the many actors he shares the screen with. This fault is ultimately down to the film’s structure as it doesn’t afford him much of the two-and-a-half-hour runtime Damon and Comer utilize.
The script itself, written by Damon, Ben Affleck and Nicole Holofcener, flows well. Each new characterization between chapters feels natural and the subtle changes between them puts the conflict in new and interesting directions, keeping the audience engaged even when scenes repeat themselves. The script is, ultimately, at its weakest in the first act where the film will abruptly change between battles drowning the theater with noise, to quiet conversations about debts, to a party where two characters are speaking, to a scene where those same characters are meeting again back to the sounds of war. It’s filled with jarring transitions which fall away as the film progresses and the audience gains better understandings of the world and the motivations behind it.
Outside of the transitions from the first act, another fault of the script comes from the side characters it introduces. There are standouts among them, notably Affleck as Pierre d’Alencon and Harriett Walter as Nicole de Buchard, but this is not due to the actors and their performances. The faults come from how little they are given in the developmental department where most come off as one-note or forgettable and could have been removed entirely without slighting much of the plot.
The movie is beautifully shot. Dariusz Wolski’s cinematography never shies away from the brutality of the era in its loud, bombastic action set pieces and lets the many locations and scenery distinguish their own identity, never losing track of the characters central to the narrative despite how busy the screen can get. The dreary color palette employed adds to the dread and hardships the world “The Last Duel” portrays yet never becomes overbearing and remains visually stimulating throughout.
“The Last Duel” is an excellent contrast between the similarities of fourteenth century Europe and the modern world. It is a movie that pulls off its message and themes by confronting the audience at every turn yet never feels derivative or heavy-handed. Ridley Scott and all who participated should be proud of what they have accomplished here and the impression it will have on those who see it.
