THE LAST DUEL (2021) – Review

Now, here’s some “end of the year” old-school Hollywood spectacle-blockbuster “award fodder”. It takes place over 600 years ago, a true-life medieval tale set in “days of old, when knights were bold”. And it turns out those armored warriors were a lot like folks today (as Us magazine loves to say, “Stars, they’re just like us”…sure). There are issues at the heart of this story that still resonate, even dominating the current debates and elections. Yes, this has lots of swordplay, but inflated egos fuel the flames of deadly combat. And the end result is helmed by a director known for historical epics like GLADIATOR (hey, his first film way back in 1977 was THE DUELLISTS), though many forget they he also was behind the camera on THELMA AND LOUISE. Add a trio of screenwriters which includes actors, directors, and producers and you’ve got a most interesting mix for the epic yet intimate THE LAST DUEL.

The “inspired by true events” tale begins in late 1300s France, mere moments before the big showdown between Sir Jean de Carrouges (Matt Damon) and Jacques de Gris (Adam Driver). As their aides assist them in donning their battle amour, countless spectators, including the royalty, line the long jousting field, as hundreds crowd around, many climbing the walls, of the massive venue. The scene shifts abruptly as the title chapter heading takes us back several years for Sir Jean’s version of the lead-up to this day. He and Jacques once fought side by side on the battlefield, pledging their loyalty and service to a member of the court of King Charles VI, Count Pierre (Ben Affleck). Later Jean returns to his family home, a castle crushed by weighty debts. He gets a visit from Jacques, who is now a tax collector for Pierre, and is warned of the hefty amount owed in back taxes. This reminds Jean that he has no heirs as his wife and only son passed away years ago. A visit to the disgraced Tribouville estate (Sir Robert had collaborated with enemies of the crown) prompts Jean to inquire about the family’s lovely single daughter, Marguerite (Jodie Comer). Eager to erase his tarnished name, Robert agrees to Jean’s marriage proposal and provides several prime pieces of land as a dowry. But it’s not long after the wedding that Jacques claims some of the property in lieu of back taxes. This drives a wedge between the old friends, as Jean even files a lawsuit. When that fails, Jean tries to mend fences by attending a festival in honor of Count Pierre. It’s there that Jacques meets and becomes somewhat smitten with Marguerite. His ardor leads to the incident that instigates their “fight to the death”. The film has two other chapter titles, with the events told from the perspective of both Jacques and Marguerite before the fateful clash of honor between the two former friends.

The power of the film is greatly bolstered by the talented cast of screen vets and a very promising newcomer. Regarding the actors, it may be best to start with the duo at the center of the title duel. Damon is quite compelling as the brusque, often boastful knight Jean, proudly trimming his beard to accent his jagged facial battle scar. He thinks of himself as a noble warrior for his country, though his plans for glory are hindered by his ego that’s paired with an obstinant streak. Away from battle, he rules his castle with an iron glove, showing little passion for his bride outside of the bed chambers (which is his own battlefield of thwarted procreation). As his BFF turned foe, Driver as Jacque is also a fearsome fighter, though he’s more dangerous out of the armor. He juggles many plots and schemes as he presents a different face to everyone. Driver gets a chance to display his comic skills as he joins the royal court debauchery with zeal while insulting all that dare to join him. And Driver certainly returns to “the dark side” in the different views of the “incident”. That scene is compelling and horrific thanks to the splendid performance by the aforementioned newcomer (a critical favorite in the lead on TV with “Killing Eve”, she made the leap to the movies with the very recent FREE GUY) Comer. She’s neither wilted victim nor “damsel in distress” as Marguerite, but rather a woman rebelling against the norms of the age. After enduring a passion-free marriage, her spirit is energized by the chance to manage the estate (she enjoys doing the books and getting her hands dirty). When the”event’ occurs she’s determined to stand up to those who would consider her “property”. Though she watches from the sidelines, Comer’s eyes and body language tell us that she’s right there in the thick of the fight. And though we see little of him in the “Jean chapter”, Affleck shines in one the year’s great supporting performances as the endearingly arrogant and lecherous Pierre. He steals nearly all of his scenes, whether reading prose to a belittled pack of dinner guests or as he tops off the evening with a naked multi-partnered bedroom romp (while his very pregnant wife sleeps next door). With his blonde hair, Affleck is the campiest “Queen B”. Rounding out the cast is Harriet Walter as the toxic mother-in-law of Marguerite.

Yes, this is the latest work from veteran filmmaker Ridley Scott (he’s now in his fifth decade behind the camera), who teams again with Damon (THE MARTIAN) for a riveting big screen (really try and catch it on the biggest one possible) entertainment with a most contemporary message (don’t be put off, thinking it’s too “woke”). Of course he’s got an excellent “map’ in the form of the screenplay adaptation (from the book by Eric Jager) by Damon, Affleck (their first collaboration since the Oscar-winning GOOD WILL HUNTING), and Nicole Holofcener (celebrated writer/director of ENOUGH SAID). It was a wise move to get such a team since the film hinges on three distinct interpretations of the “insult”. It’s amazing that a 1300s story can relate so well to the current climate, as middle-aged and elderly (often white) men make ludicrous declarations concerning the female reproductive system. Plus we get to see exchanges through the eyes of a “predator” who can’t fathom the idea of rejection from a woman. It’s incisive and smart, while never insisting that either of the duellists is wholly good (one is perhaps greatly delusional). We’re getting a lot more than a “gritter” take on the kings and knights epic. Oh but, the duel itself is more than worth the build-up, making us wince in pain as we try to avert our eyes (it’s not just about knocking you off your steed) to the brutality. Every artist excels in recreating the time period, from make-up to art direction to costume design. Plus the story really comes to life thanks to the subtle scoring of Harry Gregson-Williams, the cinematography of Darlusz Wolski, and the superb editing of Claire Simpson. Everything and everyone truly works at the top of their skills to make the medieval but very relevant THE LAST DUEL one of this year’s best films.

4 Out 4

THE LAST DUEL is now playing in theatres everywhere