Final Duel (18, 152 minutes)
Verdict: Great Scott on Form
The first feature film directed by Ridley Scott was 1977’s The Duelist, set in Napoleonic France. Now he brings to us The Last Duel, which is also set in France.
Both films would clean up bookings for an illustrious career, were it not for the fact that Sir Ridley still had a lot left in the tank.
His next release is a grand crime drama, House of Gucci, in which Napoleon himself is the subject of his aftermath—and then he plans to make a sequel to his 2000 hit Gladiator. By the way, his next birthday will be 84 years old.
Still, no matter how long it lasted, it’s probably fair to call The Last Duel a late-era photo of Ridley Scott who came first and with the same attention to detail is fantastic for so many people to see.
The first feature film directed by Ridley Scott was 1977’s The Duelist, set in Napoleonic France. Now that brings us The Last Duel, also set in France
Scott’s critics may also note a distinctive narrative slogan (not for nothing was his 1982 film Blade Runner nicknamed ‘Blade Crawler’).
But those of us willing to be generous think of him as a master-craftsman who builds a cautionary tale from a foundation, then blows up the roof.
So here it is. The Last Duel is set in 14th century Normandy and tells a true story. Returning home from their latest fight, a knight, Jean de Carrogues (played by Matt Damon), is told by his wife Marguerite (Jodie Comer) that she was raped by her friend Jacques Le Gris (Adam Driver) while he was away. it was done. ,
Kairouj duly challenges Le Gris to trial by battle, though to defend his honor rather than his wife. Medieval Europe was not known for its Enlightenment towards women and in fact the crime that Le Gris was accused of was not sexual assault but theft of property.
The title of the film reflects the enduring historical relevance of the episode; This was the last judicial duel sanctioned by the French crown.
The one who survives will be considered the one who tells the truth. Conversely, God would curse any man who dies as a liar and a liar.
Comer continued her stellar climb to stardom, beginning with the TV drama Killing Eve. In the company of two major movie stars, she looks at home
The screenplay, an adaptation of a 2004 book by an American academic, is by Damon and Ben Affleck in collaboration with Nicole Holofsner, whose final writing credits were absorbing the 2018 film Can You Ever Forgive Me?
Affleck plays Count Pierre d’Lençon, a lavish aristocrat who makes a favorite of the charismatic Le Gris and doesn’t hide his distaste for harsh, unattainable carousels. As it builds up to the climactic duality, the film is split into three, telling the same story from opposite perspectives of principals: Carrogues, Le Gris and Marguerite, in order. This tool gives us the statement of two witnesses for the prosecution and one effectively for the defense. It is handled very tactfully but demands a lot of audience.
You need to be quick-witted to figure out the different ways in which the same thing happens, even discarding a pair of shoes, according to which events can be cast on. Used to be.
It’s hard to summarize, and Scott makes no specific effort to do so. But the heavy run time of two and a half hours enables him to indulge his passion for the spectacle and go to town on the all-important fight to the death, which is brilliantly done.
The casting is great, with particularly classy backing acts like Harriet Walter, Nathaniel Parker, and a hilarious King Charles VI, as Alex Lawther.
But the leads are especially good. Damon is so confident that he even distracts us from his character’s messy facial scars and the worst haircut since the 1976/77 football season, while I’ve always thought Driver suits the period drama like few other actors Is. He has a face that can belong to any century.
As far as Comer is concerned, he has continued his stellar performance…