He fusses and fumes about honor while Le Gris and the count (Affleck in campy splendor) roll their eyes and spend late nights drinking and bedding women. Here, we see De Carrouges as an impetuous soldier, an aggrieved complainer and, well, no fun. The second section replays the same time period only as according to Le Gris, and “The Last Duel” grows more interesting. That they look a little foolish may be intentional. Damon sports a mullet and a half-formed beard that seems hardly fashionable in any century, while Affleck has trim blond locks that would be better suited to a boy band. There are hints in even this straightforward first section of something not quite lining up. De Carrouges vows to bring him to justice. When he returns from a trip, his wife informs him that she was raped by Le Gris while he was away. De Carrouges sees himself as a good and brave man, unfairly treated by his superiors.
![imposition studio reviews imposition studio reviews](https://www.devalipi.com/tutorial/tutorialimages-3.jpg)
This starts a rift between de Carrouges and Le Gris, as well as with the count, who strongly favors Le Gris. He in turn awards the land to de Carrouges’ friend and fellow warrior Jacques Le Gris (Adam Driver), infuriating de Carrouges. He finds his agreed upon dowry, including a handsome parcel of Normandy, has been taken instead as a debt collection by the Count Pierre d’Alençon (Affleck). The first, which belongs to Jean de Carrouges (Damon), might have once been the sole version of “The Last Duel.” In 14th century France, de Carrouges is a loyal and valiant soldier for King Charles VI (a childish ruler played by Alex Lawther) who weds a nobleman’s daughter, Marguerite (Jodie Comer). The film, framed like “Rashomon,“ is told in three chapters repeated from different perspectives. “The Last Duel” is more like a medieval tale deconstructed, piece by piece, until its heavily armored male characters and the genre’s mythologized nobility are unmasked. The movie, written by Matt Damon, Ben Affleck and Nicole Holofcener, is not the tale of manly valor that it first appears. masculine historical epics, you think you know exactly what’s in store.īut “The Last Duel“ may be one of the only films where the director, himself, is kind of a MacGuffin. The skies are gray, the terrain muddy and, considering this film is by the director of “Robin Hood,” “Gladiator” and other brawny. The film, directed by Ridley Scott, begins with all the expected medieval trappings: gory battlefields, imposing stone castles, the clop of horses.
![imposition studio reviews imposition studio reviews](https://opentextbc.ca/graphicdesign/wp-content/uploads/sites/42/2019/07/work-and-turn-01-1024x768.jpg)
On its mud-and-blood surface, “The Last Duel” seems like a familiar slog.