‘The Last Duel’ Review: Ridley Scott’s 14th Century #MeToo Epic Shines

There’s plenty of action in Ridley Scott‘s latest epic in The Last Duel. However, it’s the dialogue concocted by screenwriters Nicole Holofcener, Ben Affleck and Matt Damon and a truly sublime performance by Jodie Comer (Free Guy) that makes The Last Duel one of 2021’s best films.

The use of Rashomon in The Last Duel is interesting. There’s never any doubt about which character’s version of events is the most accurate. Instead, the Rashomon effect is used to show how the three individuals telling the stories view themselves.

The story allows Comer, Damon, Affleck and Adam Driver to showcase subtle changes in the differentiating version of events. Comer is magnetic as Marguerite de Carrouges. Marguerite is more sophisticated and intelligent than Sir Jean de Carrouges played by Damon. She also sees through the intelligent and handsome veneer of Jacques Le Gris. Her intelligence and magnetism are unquestionable no matter which character’s version of the story is unfolding on screen.

Sir Jean de Carrouges is only good at one thing: Battle. His lack of sophistication is evident in every scene. The disdain on Count Pierre d’Alençon’s (Affleck) face every time he sets eyes on Jean is a recurring theme that delights throughout. Affleck’s d’Alencon is the perfect mixture of aloof and cunning. His mentorship of Jacques Le Gris is crucial to the film’s story.

Le Gris is a combination of both Jean and Count Pierre. He has the sophistication of Pierre and a mistaken impression of honor that Jean is forever searching for. Le Gris appears to have everything Jean could ever wish for with the exception of one thing, no one person. Driver excels at portraying characters with a handsome exterior and a deteriorating soul on the inside. The Last Duel is no exception.

The film’s pacing is erratic early on but settles into a nice groove. There are too many battle scenes in the film. All of the scenes are well shot. However, fewer battles would have allowed the brutality of the one-on-one duel to stand out. The production design and cinematography is top-notch as well.

With the overview out of the way, let’s dive further into the 14th-century scandal shown in The Last Duel. There will be some minor spoilers. 

If you like the content on The Intersection and have the means, a donation is much appreciated. The Intersection will never have ads on the website. To expand coverage to golden-era tv shows and add new features, we need your help. You can provide a one-time donation via PayPal or Stripe below.

Respect and Honor in The Last Duel

Jean views himself as the chivalrous knight who hasn’t been given his due. However, even in his version of the story, he’s too illiterate to understand that being good in battle does not make you an honorable man.

He presents himself with a gentler touch when it comes to dealing with his wife. Marguerite is depicted in his version as a gift from her father in exchange for Jean letting him live. He even says the right things during the honeymoon to set her at ease. He never fails to show her as a supportive and caring wife.

Jean has a very public meltdown in front of Le Gris and Count Pierre. Le Gris was promoted to captain. A title that belonged to Jean’s late father. In this version of the story, we don’t see the meltdown, just Jean telling Marguerite and her incredulous reaction to her husband’s lack of tact. The event is shown in Le Gris’s version and it’s Damon’s best moment in the film. To say Jean makes a mockery of himself is an understatement.

One of the most interesting parallels between Jean and Le Gris’s stories is a reunion between the two men. They make their amends and Jean tells his wife to give Le Gris a kiss to show there is no ill will. In both versions of the story, there’s a long lingering glance between Le Gris and Marguerite after the kiss. In Marguerite’s version, it’s much faster.

Even if the furtive glance was based in reality, that doesn’t mean Marguerite deserved what happened to her. Yet, her husband’s story paints it as if there was some affection that invited Le Gris to do what he did and now he must defend his wife’s honor. Marguerite makes it clear in her story and with the intelligence shown here, she has no plans of returning Le Gris’s affection.

The Fall of Le Gris

The Last Duel begins with Le Gris and Jean as comrades, equals and friends.

Perhaps the two would have remained friends if not for Count Pierre. The Count is impressed by Le Gris’s respect, class and way with women. In fact, most scenes involving Le Gris and Count Pierre end with Pierre telling Le Gris to take his pants off and join in on one of many orgies. Every time Le Gris approaches Pierre with a problem caused by Jean, Pierre finds a solution until he can’t.

Like most rich, spoiled men who can have seemingly any woman they please, it’s the woman that he can’t have that vexes Le Gris. Even in his version of the story, he only matches wits with her once. It’s such a singular event for the captain that he can think of no other woman. The next time they interact, he’s professing his love to Marguerite and rapes her.

The rape itself is only depicted in Le Gris and Marguerite’s story. In Le Gris’s story, only his face is shown as he does the deed. In Marguerite’s, only the revulsion on her face is shown. The dialogue is the same in both sequences. It’s masterful storytelling.

The Truth

Make no mistake. Marguerite is better than Sir Jean de Carrouges and Le Gris.

She’s far more sophisticated than Carrouges. After meeting Le Gris for the first time, Marguerite makes it clear why she smiles at Le Gris and how that tactic is the key to moving up in the political arena. Marguerite has no interest in Le Gris. She acknowledges his handsome features but denounces his character to his face. She does it gently and in an intelligent fashion, but it’s unmistakable in its intent.

In Marguerite’s version, Jean is less concerned about the damage Le Gris has caused to his wife. He’s visibly angry that Le Gris has stolen a piece of property and the decision he makes in the immediate is horrific.

Marguerite’s story is the most complete version of the Rashomon method. It shows her and Jean de Carrouges’s courtship, the first time she met Le Gris, the rape and the trial of Marguerite. What should be a trial against Le Gris is quickly turned against Marguerite. The trial is the most uncomfortable scene of the film and Comer is tremendous. Toxic masculinity is on full display and it’s revolting. Yet Marguerite retains her dignity throughout.

Marguerite is also the only character with the gumption to challenge her own decision-making. Do the consequences of truth ever outweigh a lie? Marguerite wrestles with this dilemma. Something none of these men have the courage to do.

The Last Duel Final Thoughts

With The Last Duel, Scott has made his best film since 2015’s The Martian. From production to writing to performance, The Last Duel is a great film set in the 14th century that feels timeless due to its handling of #MeToo.

Comer, Damon, Affleck and Driver are so perfect in their roles that the odd pacing barely registers. Could this story have been told in a straightforward manner? Probably. However, the Rashomon technique allows the small differences in each actors’ performances to shine.