Review: 'The Last Duel' examines 'truth' three ways, in a medieval tale of power and pride
Two of director Ridley Scott’s trademarks — depicting muscular battles between men, and spotlighting strong female characters — are evident in “The Last Duel,” a surprisingly timely tale of power dynamics in 14th century France.
“Based on true events,” as the opening title card tells us, “The Last Duel” digs into a years-in-the-making feud between a French nobleman, Jean de Carrouges (Matt Damon) and his squire, Jacques Le Gris (Adam Driver) — who, Scott shows us at the outset, are about to joust and fight to the death.
The movie then pulls back to tell the history that led to that moment, Actually, three histories, because what we’re shown are three versions of the tale, from three vantage points.
First, the movie shows us de Carrouges’ version of events, in which he’s depicted as a fierce soldier, loyal to young King Charles VI (Alex Lawther) and his local lordship, Pierre d’Alençon (Ben Affleck). De Carrouges needs money to maintain his status, so he does two things: Goes off to fight in King Charles’ wars, and marries Lady Marguerite (Jodie Comer) for her dowry, including a prime piece of land.
That stretch of land becomes the crux of a legal battle, when Marguerite’s father (Nathaniel Parker) is forced to renege on his deal with de Carrouges, and gives it instead to Count Pierre, who then deeds it to Le Gris. Pierre also gives Le Gris a command de Carrouges thought he should get by birthright. And, in a final indignity, Marguerite reports to her husband that while he was away, Le Gris came to the castle and raped her.
The second chapter tells these events from Le Gris’ point of view. There are some differences, such as Le Gris saving de Carrouges’ life in battle, rather than the other way around. We also see Le Gris’ friendship with Pierre, which is largely based on their shared talents for drinking heavily and bedding multiple women.
But Le Gris’ version of the story also includes him raping Marguerite. In his telling, though, it’s because he had fallen hopelessly in love with her — and, according to him, she secretly enjoyed it.
The movie’s third chapter is the most telling viewpoint of all: Lady Marguerite’s.
That third act is largely written by Nicole Holofcener (“Enough Said,” “The Land of Steady Habits”), who was brought aboard by Damon and Affleck (their first shared screenplay since “Good Will Hunting” won them an Oscar) to provide Marguerite’s voice. It’s a strong voice, unwavering when the male powers that be suggest she’s lying about the rape, and incredulous when someone notes that rape then wasn’t a crime against the woman — but a theft of the husband’s property.
Scott has assembled a dynamic cast here. Damon depicts de Carrouges’ inflexible code of honor, and his frustration that being a good soldier isn’t as profitable as Le Gris’ ability to suck up to Pierre. Driver, perhaps the most fascinating movie star of the moment, plays Le Gris as a dashing hero and an abusive cad, depending on whose version of history is being told. In supporting roles, Affleck and Lawther revel in parts that play up the giddy delights of unchecked power.
It’s not until the back half of “The Last Duel” that the true star emerges, and that’s Comer. She’s already proven her scene-stealing prowess in “Free Guy” and BBC America’s “Killing Eve.” Here, she channels the subsumed rage of a woman who defies convention — and the advice of her mother-in-law (Harriet Walter) — that tells her to shut up and accept her fate, and the courage to speak honestly no matter the cost.
That cost is shown in the grand finale, the duel between de Carrouges and Le Gris, based on the ancient law of combat as justice — on the theory that God will allow the party who’s telling the truth to win the battle. Scott, who has tackled similar battle sequences in “The Duellists” and “Gladiator,” is in his element here.
But, with Comer’s Lady Marguerite, Scott is also presenting a strong, complex female character — something he’s done with Sigourney Weaver’s Ripley in “Alien” as well as Susan Sarandon and Geena Davis in “Thelma and Louise.” “The Last Duel” satisfies both dynamics from Scott’s long career, and allows the master to deliver a thrilling late-career masterwork.
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‘The Last Duel’
★★★1/2
Opens Friday, October 15, in theaters everywhere. Rated R for strong violence including sexual assault, sexual content, some graphic nudity, and language. Running time: 152 minutes.