The Last Duel (2021) was directed by Ridley Scott, from a screenplay by Nicole Holofcener, Ben Affleck, and Matt Damon, based on the 2004 book The Last Duel: A True Story of Trial by Combat in Medieval France by Eric Yager. The Last Duel is set in 14th century Medieval France, following the Caroline War at the latter half of The Hundred Years' War (1369-1389) between England and France.
The Last Duel is a gynocentric retelling of true events through the lens of our sole female protagonist, Marguerite de Carrouges (Jodie Comer). Marguerite's recollection of events is contrasted by the perspectives of her husband, Sir Jean de Carrouges (Matt Damon) and his close friend, Jacques Le Gris (Adam Driver), with Pierre d'Alençon (Ben Affleck) offering a supplementary role. Scott enlists the prolific talents of composer Harry Gregson-Williams, costume designer Janty Yates, and cinematographer Dariosz Wolski, to drive The Last Duel into a deeper dimension of authenticity and realism.
The Last Duel is segmented into 3 sections, the first act is told through the perspective of Sir Jean de Carrouges, the second act follows the interpretation of events from Jacques Le Gris, and the final act recalls the truthfulness of events according to Marguerite de Carrouges. As new chapters unfold, fresh perspectives on events are revealed. Each of the three central characters offer their viewpoints on specific moments.
In each iteration, stories are twisted and moments are tweaked ever so slightly to impart distinction on minor details. One such moment is the scene where Jacques and Marguerite share a plutonic kiss to show the good will of the House of Carrouges. According to Jacques' telling, Marguerite's kiss feels seductively inviting, whereas through Marguerite's perspective, Jacques' kiss looks very forward and unbecoming. The viewer begins to question the transparency of each character's recollection of events, and subsequently the legitimacy of Marguerite's claims of rape.
The Last Duel achieves the skillful feat of blurring the lines of the defined chivalric hero, wicked villain, and innocent bystander. Jean de Carrouges is portrayed as a chivalric knight, a supportive husband, and an honourable man in his own interpretation of events. However, Jean is seen to be an ill-tempered, stern hypocrite in Marguerite's interpretation and a "cold and callous man" to the words of Jacques. After hearing of his wife's traumatic testimony of rape, Jean does not hesitate to summon the traumatised Marguerite to his bed, showing little concern for her fractured state of mind. Jean problematically holds bitterness against Marguerite due to her inability to have provided him an heir, so offers no empathy or affection.
Jacques Le Gris is conveyed to be learned squire, an influential political figure, and a charming provocateur in his own retelling of affairs. In contrast, Jacques is known as a depraved, lustful sinner according to Marguerite's personal experience and an obsequious "sycophant" to the words of Jean. Jacques lives a resplendent and lavished lifestyle, indulging in the many debauched vices that come with the abundance of wealth granted by Pierre. The friendship between Jean and Jacques becomes splintered as Jacques accrues more property and power, including a piece of land that is rightfully in the dowry of Marguerite de Thibouville. Jean is especially infuriated when he is denied his ancestral birthright to inherit his father's captaincy. The position is instead gifted to Jacques.
Compared to Jean and Jacques' dubious recollections, Marguerite's story is the only perspective that feels unequivocally true. Jean and Jacques' fallacious stories are fabricated in order to uphold their repute and preserve their pride. In every iteration, Marguerite's virtuous character is unanimously consistent. Marguerite is conveyed as a faithful wife, a loving mother, a graceful, modest lady, and a wise, educated woman. Placed beside the conceited Jean and the lecherous Jacques, Marguerite is the only character that exhibits admirable personality traits through acts of virtue.
Lighting is illuminated from natural light sources like candles, fireplaces, and daylight piercing through windows. The use of natural, non-diegetic lighting is a fitting choice for a period drama set in 14th century France. The scenes are illuminated with ample lighting, enough to elucidate the subject in the foreground, whilst creating a shadowy vignette to blot out distractions in the corners of the background. The palette of colours captured in The Last Duel appear desaturated and stripped of vividity, with many autumnal tones of greys, greens, and browns commonly appearing in different scenes. The desaturation of colour complements the perpetually glum weather and the cold and gloomy atmosphere of the giant, stone castles.
The cinematography in The Last Duel is succinct and meaningful, focusing solely on moments of relevance and significance. The mise-en-scène feels purposeful and the positioning of objects are meticulously placed. Wolski utilises a plethora of camera angles and shots to immersify the viewer in a 360° view of this 14th French world. Quick and snappy, over-the-shoulder shots of a serious interchange between two characters amplifies the urgency of the conversation. Intense ECU shots of traumatised facial expressions are used to punctuate moments of emotional grief. Wide-angle medium shots introduce setting and establish context without drowning the viewer in exposition.
The Last Duel is very much a film celebrating the female triumph over systemic patriarchy. Marguerite challenged the androcentric branches of power and influence; science, the clergy, and the political hierarchy. Marguerite conducted herself with a steadfast approach, a fervent heart, and with a broad knowledge of her legal powers. To observe a woman face insurmountable odds and unfathomable adversity to only rise above it unscathed, is a truly heart-warming experience. It is empowering to come across an authentic portrayal of a fearless and capable female character that isn't made out to be a mirror image of the quintessential male hero.
By Lucas Barker, BComm Minor in Media Studies, and an avid cinephile. 17/11/22
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