IR Film Review: THE LAST DUEL [20th Century Studios]
"The Last Duel" is, in many way, fairly straightforward in its structure but in seeing the inherent structure post viewing it builds an interesting viewpoint in its dynamic but it is not as powerful as it might have been. The film is undeniably timely (even in being delayed by the pandemic and is conceptually based on the book by Eric Jager. While it is not clear if the book was same in the same perspective style from three different points of view, it is nevertheless an effective, though classical device. The screenplay was written by Ben Affleck, Matt Damon and Nicole Holofcener which makes sense and would be interesting to see what the offset of the writing process was. The thought this reviewer would have was that Matt Damon wrote his character's section of the events leading up to the rape of his wife Lady Maguerite (played by Jodie Comer) while he was away at war. Ben Affleck likely wrote the Jacques Le Gris version of the story. Affleck likely was supposed to play Le Gris (Adam Driver took over the role) but he apparently changed to the smaller role of Count Pierre d'Alençon who, although a bad character is not as villainous or despicable in his own way as Le Gris. Driver can take on these characters of darkness and unlikability even giving them a bit of charm while being sucked into a black hole which is very tricky here because his character is the one who is accused. The trailer interestingly enough did a good job of approaching the film without giving too much and actually misdirects necessarily.
Nicole Holofcencer, who wrote and directed Melissa McCarthy in "Can You Ever Forgive Me" and James Gandolfini in "Enough Said" perhaps likely wrote Lady Marguerite's version while reflecting the right notes in the Affleck and Damon portions. This is all conjecture of course. As a result the impetus or perceptions, motivations and power plays of what happened are changed in tone slightly for each section or sometimes heavily each time around. While the film does have some sweeping elements and the battle scenes are undeniably brutal, the human story never takes on a truly mythical element because the men are mostly just so blind and unlikable, even if they think they are being altruistic or noble. Comer's Maguerite stands alone as is the irony. Even her ladies in waiting don't listen to her. This of course is the point and the reflection of the time plus an allegory for today. In that time, the rape of Lady Marguerite was seen as an offense again her Lord and not against her ironically. The King Of France even takes a flippant view while his wife looks on subtly horrified not able to say a thing.
Unlike "Gladiator" when Joaquin Phoenix's darkness knows no bounds, his interaction with his sister takes on mythic qualities because of its depravity but also because of its perspective. Maybe it is time but director Ridley Scott never quite gets to that moment her which was inherently possible but it is a delicate balance and tricky subject matter. However, one moment truly captures the hurt, pain and perspective of Maguerite. It is a quiet scene with Comer holding a baby and reflecting on claims she just made and their realistic endgame with Damon sulking quietly in the corner while she speaking of the greater good per se. It is powerful and reflects an earlier scene with her embattled mother in law (Harriet Walter -- interestingly enough who was in "The Force Awakens" as well as 1997's "Sense & Sensibility") which brings the film to bear. One detail during Driver's perspective seemed off in its clarity but its reasoning reflexively comes to bear. But the irony of the ending as it is meant to be rings true but not with a undeniable sense of closure...just an acceptance. The Last Duel" is an adequate film with intrinsic subject matter, great actors and an epic backdrop but it doesn't offer an intensity that it might have had. B-
By Tim Wassberg
