The Last Duel (2021) Dir. Ridley Scott

Following director Martin Scorsese, Ridley Scott recently bemoaned the abundance of superhero films and lack of opportunity for more niche films. Well, the man has two huge films out this year and this first release The Last Duel is a rather good affair.

Despite the lack of box office receipts, Scott should worry less about that as his film is a welcome return to the historical epic of Gladiator (although thankfully less like the messes of The Last Kingdom and Exodus).

Based on the novel set in 14^th century medieval France, The Last Duel tells a tale of betrayal, violence and honour in 3 chapters – each told from a different character’s point of view. Like Japanese film Rashomon, the unreliability of each eyewitness is crucial to how we see events unfold.

Chapter 1 sees war hero and knight Jean de Carrouges (Matt Damon) marry Marguerite (Jodie Comer) in part to receive a dowery to pay off his debts. When some of this land is taken from him by Count Pierre d'Alençon (Ben Affleck) and given to his friend Jacques Le Gris (Adam Driver), a rivalry ensues. Despite a moment of reconciliation, Marguerite later accuses Jacques of rape and a duel is arranged to determine the “truth”. A theme throughout the film.

Chapter 2 follows Adam Driver’s journey during the same time period, where we see another angle of the story played out. He is shown more conflicted about being disloyal to his friend but also hopes to keep favour with the Count and his misconduct shown to be part of an unrequited love for Marguerite. Yeah right.

The most powerful segment is saved until last as Marguerite’s tale shows the brutality of the attack but also sheds light on her own husband's toxic ways and some pettiness of the men’s quarrels and imagined slights. As her friends abandon her and Jean being shown to be less sympathetic than he initially seemed, The Last Duel’s mix of historical and thematic judgments are complex and compelling.

Some reviewers have taken umbrage with the thrice repetition of the same story, but only at a few points do we get the exact same scene and Scott uses music, cinematography and different shots to illuminate aspects that may have not been shown earlier.

The final duel itself is a bloody battle reminiscent of the slaves fighting in the Colosseum and the sumptuous châteaux and lavish rooms are only let down by the odd bit of CGI background extension. The film’s relationship between the past and present is worn clearly on its sleeves as although we see manliness across a different historical period, some of the negative toxic traits are linked to modern day concerns.

In the final chapter it is clear though that the real strength, courage and assertiveness comes from Marguerite’s steadfast accusation and her own search for justice. All despite what could see her be a victim of capital punishment herself.

Jodie Comer is excellent in her role showing a steely strength from behind the scenes and Matt Damon delivers his best performance in years. And although Affleck appears to be channelling some sort of Alan Rickman in Robin Hood at times, he’s a welcome OTT addition and Adam Driver is watchable in anything he touches and again so here.

With the three leads delivering in spades, The Last Duel exposes the medieval masculinity of Christian morals and chivalric feats but undermines these with an exploration of these seemingly honourable traits cutting out women, their rights and their strength. Scott should worry less about Marvel and marvel in his own films which still shows his master craftmanship within cinema.

★★★★

Michael Sales