JODIE
MATT
BEN
ADAM
NICOLE
RIDLEY

THE LAST DUEL

There are elegant subtleties of tone, perspective and performance showcased in this film that displays artistic mastery of cinema.  Such work under the helm of the great Ridley Scott, achieves a profound transference of energy marveled by the story that Ben Affleck, Matt Damon and Nicole Holofcener have brought to the table, albeit one of difficult subject matter, it is an important feat that demands one's attention, especially for the times we live in now. 

A story of rape is a hard pill to swallow, and is one people often avoid due to the horror of the subject matter, and the delicate requirement of its conversation. Cinema is a way for people to actively and effectively discuss it with sensitivity and respect as it is raises to such a degree that no eyes or ears can turn away, and when it ends is where the real conversations can be made. Ridley Scott expands the scope to a visually epic display, that encompasses cinematic realism to push the conversation into full form. By taking a true story of rape in the medieval 14th century, there is a grandiose display of a period where knights duel to the death for honor, loyalty and pride, but what it leaves behind is the tragedy of a time of despair for the women who endured such hardships. 

One cannot watch a film set in 1386 Normandy in a theatre in 2021 without knowing full well the current climate of predatory behaviour upon the victims of rape and the truth behind their stories. A film like this shows the truths being told within our present have been built upon the traumas of our past, the cycles of pain, silence and fear of speaking out due to, as the film so aptly puts it "the power of men."

What Ben, Matt and Nicole have so delicately done in their each telling of a perspective of character in similar fashion to the storytelling of Rashomon, is allowing their actors to explore subtleties of silent expression to manifest their thoughts and feelings, which are often askew and glanced over when repeated and shared after the fact. By differing perspectives, it allows the audience to understand how one may portray their "truth," and how that may be differed in the eyes of those present in the act, in this case the rape of Jodie Comer's Lady Marguerite.

Adam Driver's Jacques Le Gris, the perpetrator of the act, who's story of the truth is displayed in the pursuit of love masquerading his sense of pride. His insistence of belief that Marguerite feins interest in him clouds his judgment to follow through with his advancements upon her, and he sees the sexual act akin to how he would treat his ladies of the court that already lust after him. It is his personal justification that she deserves to be with him rather than her husband Jean de Courrouges (Matt Damon) that merits his sinful act. What Adam Driver has always been marvelous at is owning the space he is in, as he does so not only with his sheer height and physicality, but the way he commands and controls with his voice and presence. His gaze longs endlessly and it is that strength and will that pushes forward his want as Jacques Le Gris. It is with his rugged power and force that he dominates the battle fields, but his intellect and charm that also wins over Ben Affleck's Count Pierre d'Alençon's fealty and prized friendship in his court. Amongst the companionship of the Count, Le Gris was able to gain kinship and loyalty, but also partake in the many spoils and luxuries of women, land and promotion in rank. But like all boy's clubs that engage in lustful acts, it is not until Le Gris is accused of rape by Courrouges, that Pierre gives council to his defense. And like all boy's clubs that value their face and standings, his advice was to "deny, deny, deny."

By portraying the film in three acts, each showcasing the truth told by Jean de Courrouges, Jacques Le Gris, and the Lady Marguerite, in that order, we as the viewer are able to see the evolution of the story, and truth unfold through varying perspectives. As the first two acts display the men's stories, we see that both men attribute their skills on the battlefield to a high degree, and their respect for women in similar merit. De Courrouges, a true warrior at heart, but broke to his name vows for the hand of Lady Marguerite, knowing he will receive a fine dowery in return, which grants him a stable standing and land he feels he is owed. That is until Le Gris, now a liege to Pierre, his bookkeeper and tax collector, receives the land owed to de Courrouges and a gift from Pierre. Once friends on the battlefield have become rivals in wealth and court esteem. De Courrouges looked down upon by the Count, and Le Gris favoured. The only thing of value to him is the beautiful Lady Marguerite. While wars have been known to be fought over women it is just fitting that Le Gris' fancy towards her incites jealousy, love and lust. So while the first two acts portray two squires ranks of nobility it also showcases their hindrance of morality fall in pursuit of a woman that will ultimately decide their destiny, as de Courrouges' accusations lead to the final judicial duel to the death. 

In the first two acts we see Lady Marguerite's compliance to the marriage to de Courrouges. She follows the orders of men, and tends to her husband's ownership in his eyes to fulfill her duty as a wife, to bring him an heir, which she has failed to do in the first few years of their marriage. We see that her will is rarely her own, and though she yearns to give birth and please her husband, she cannot but lose heart to her lack thereof. While through Le Gris' eyes she is seen a beauty and charm to be added to his list of accomplishments and accolades. Known to be a womanizer in the courts, he can't help but take what he feels he so rightly deserves, again away from de Courrouges. It isn't until we observe the final act in the Truth According to Lady Marguerite, wherein the titled words all fade away leaving the word "Truth,”it's clear, that this perspective, written by Nicole Holofcener, demands the most attention.

What is remarkable about Jodie Comer, which has been showcased in her previous works, more so highlighted in the marvelous Killing Eve, is her own attention to detail, and absolute mastery of subtleties. These little twitches, looks, glances, shifts in tone, timing and thought, all attribute to her wonderful ability of raising the bar for the whole film. She is captivating in her silences, for it is within her eyes, as the viewer, that we see and understand the truth of her torturous existence. In her act we see her pain; in being married off akin to being sold like cattle; how her purpose is to make an heir but endure the rough sexual intercourse to a brute; to be lusted after by another squire of court, and when she turns down his advances, is ultimately raped, and now stands trial for her truth. Her existence is a struggle to fight not only for the sinful injustice done to her, but for her voice to be heard, and to not be silenced. Her will to speak is the breaking of the wheel held by powerful men. It is in her eyes that the vocation to be a mother, and hold worth, to stay alive in a horrible world without rights means risking everything. In her perspective, even admitting that she was raped by another man to her husband is met with anger, rage and denial. There are subtle differences in shot angles, dialogue shifts and changes that Ridley Scott accurately places that allow us to feel the Lady Marguerite's position. By moving in on an extreme closeup, we see in Jodie's eyes and mannerisms, the full weight of her position, her fear, her sadness, her struggle. This differs from the previous two acts shown in favour of the men’s feelings of how her accusations will hurt their namesake and titles. Which is why, even once the duel is fought and won in her honor, it is ultimately for the pride and name of Jean de Courrouges as victorious. The Lady Marguerite’s victory is not that she was believed, but that she is alive. For this is a time where even if you are believed in the eyes of God, there will only be acts of man that justify and merit your existence. 

The Last Duel is a film that will leave many feeling shortchanged, off, and uncomfortable. But that is a small price to pay to gain a little perspective. If only a percentage of what is felt can amount to the scale of what is shown then there is work being done, and it seems that is all the creators ask for. With all the spectatorship and epic allure of period piece costumes, sets, horses, battles and grandiose scope of action, the bare essential underlying question is, "do you believe the truth when it is asked of you?" Because this is a hard topic to discuss, let alone to portray on screen. But if for a mere two and a half hours, one can hold their attention and listen, observe and believe, it will be a fraction of what women have had to endure for centuries. If this film works in being able to ask the difficult questions, then we as a more conscious people can begin to look for the right answers, and help those still lost and struggling to find the strength to speak their own truth.