The Last Duel - Review

Rating: 4 out of 5

RIDLEY Scott's historical epic The Last Duel arrived in the wake of the #MeToo movement in 2021 and drifted, somewhat sadly, into relative obscurity. Or, in box office terms, it bombed. But it didn't deserve to.

For sure, it boasts difficult subject matter that, quite possibly, hit upon a few raw nerves. But it poses some highly relevant questions about sex (and rape in particular) that hold a mirror to current attitudes, while asking how much things have actually improved. It also deconstructs masculinity, while feeling very pro-feminist.

Inspired by author Eric Jager’s 2004 account of France’s last officially recognised judicial duel, the story essentially boils down to whether a woman was raped, as she claims, and whether true justice will be served. It unfolds in three chapters, with each one unfolding from a certain individual's perspective, Roshomon-style.

The victim is Marguerite de Carrouges (Jodie Comer), wife of Jean de Carrouges (Matt Damon), who claims to have been violated by her husband's former friend turned chief tormentor Jacques Le Gris (Adam Driver).

The first instalment takes Jean's 'truth', recounting how Jean saved Jacques life on the battlefield but subsequently got pushed to the sidelines as Jacques uses his influence with Count Pierre d’Alençon (Ben Affleck) to accrue land and wealth, which denies Jean of his inheritance. When Jacques eventually extends his gaze to Margeurite and "feloniously and carnally takes" her [while Jean is away fighting on behalf of the king], Jean demands redress by way of duel.

The second instalment takes Jacques' perspective, showing Jean to be driven by his jealousy of Jacques, pointlessly suing him for land that he had no right to claim as his own. He is a handsome, egotistical playboy of sorts, prone to partaking in orgies with Count Pierre, while rising through the ranks by virtue of his ability to whatever is necessary to curry favour with those in power.

Upon meeting Margeurite at a party, he is immediately smitten, and eventually takes her while Jean is away - admitting to Pierre that Margeurite offered "the customary protests... because she is a lady". If he is guilty of anything, it is being complicit in adultery, not rape.

Finally, there's Margeurite's perspective, which the film declares to be the real truth. Through her eyes, we confirm what the earlier versions have long since made us suspect: that neither of the men in her life are decent. Her marriage to Jean in the first place was arranged and her regular sex sessions are more 'duty' than pleasure - aimed at providing Jean with a male heir. She takes no pleasure in his workmanlike approach.

Likewise, her encounter with Jacques is clearly non-consensual. He forces himself upon her.

And yet, Margeurite is a formidable woman in her own right, as earlier exemplified by her ability to successfully run Jean's estate in his absence (even making better decisions surrounding the welfare of livestock and the sustainability of crops). Hence, her desire to seek justice for being raped is hardly a surprise.

What she hadn't counted on, however, was that the subsequent duel also places her life at risk. For the nature of the duel itself means that God was trusted to pick the righteous winner - which means that if Jean were to lose, his defeat would be seen as 'proof' that Margeurite was lying. She would therefore be burned at the stake.

Scott's film may sound like it involves a lot of repetition and certainly looks lengthy at two and a half hours. But the veteran filmmaker is an assured hand when it comes to historical epics (from Gladiator to Kingdom of Heaven) and knows how to keep things moving at a fair old lick.

He's also well served by a script co-authored by some very assured hands - Damon and Affleck penning the 'adapted' screenplay of Jager's source material for the first two chapters, and Nicole Holofcener (of Enough Said, You Hurt My Feelings fame) penning an original screenplay for Margeurite's chapter.

This ensures each segment feels different, even when revisiting some of the same scenes, which allows plenty of room for nuance within the uniformly excellent performances.

Scott, too, throws in plenty of ferocious battles scenes and doesn't skimp on spectacle - while thankfully ensuring that the rape sequences do not feel exploitational or unnecessarily graphic. Margeurite's terror is plain to see on her face - the horror of the crime convincingly conveyed without having to demean the actress.

What makes The Last Duel most striking, however, is just how much relevance it has to current events. #MeToo - and questions of consent - certainly resonate, while the French backdrop also feels highly relevant given that country's recent high-profile serial rape case.

Male attitudes to sex, and to the treatment of women, are ruthlessly exposed - with the misogyny of both Jean and Jacques (not to mention Pierre) very much to the fore. In many ways, Scott's film feels progressive and justly angry - not least because it stands firmly with Margeurite, even though some historians themselves continue to debate the veracity of her claims.

As poorly received [by cinema audiences] as The Last Duel was, it deserves to continue finding an audience via streaming, as well as being considered favourably among Scott's best works.

Certificate: 18
Running time: 2hrs 32mins