“The Last Duel” by Ridley Scott is a medieval drama

The movie culminates in a really intense duel, but the three parts that led to it are not equal.

Star Director Ridley Scott And despite the strong cast, “The Last Duel” is a mismatched and mysterious medieval story.

In 1386, the last legal duel was held in France. Two men had to fight one another to the death, and the winner proved that God and truth were on his side. How the knights Jean de Carouge (Matt Damon) and Jacques Le Grace (Adam Driver) ended up in the duel, and what role Marguerite de Thibeauville (Jodi Comer, “Killing Yves”) played in the case, is shown in three parts.

first we get Carogue’s perspective. He is a follower with an important name, but bad advice, and sees himself as a hero deprived of everything he deserves. His world becomes like pictures: gray, bleak and foggy. This first act is by far the worst in the movie, almost as unreactive as Damon’s wearable hockey welder.

It cuts quickly from hit to hit, to situations where Carouge meets or hears about Jacques Le Grace. All the scenes are short and full of relevant information in one way or another, but don’t give too much time to get to know the characters. We were told that the two men were good friends, but I don’t see much to suggest that, just how their relationship is getting worse. Count Pierre Dalinson (Ben Affleck) prefers Le Gris to thwart Carouge’s jealousy in his eyes.

The second part gives us Le Gris’s point of view, and illustrates the difference between the two men by being more colorful and engaging. The connections have been made, so we’re getting more involved in the conversations between grades. From the outside, Caroge does not look like a hero at all, he is just a short-sighted and quick-witted person, himself responsible for his accident. Le Gris sees himself as a great magician.

In these two chapters, men’s opinion of honor and reputation is the most important. What Margaret went through and what the truth really is seems almost indifferent. In the final chapter, we get Margaret’s version of the truth, and the word “truth” stays pretty long on the screen.

by Margaret It is asserted that France in the fourteenth century was not a feminist world at all. Jodie Comer plays many of Marguerite’s diseases well, and the text here has more of a twist than the previous chapters. If we look at it from the outside, it becomes clear how both Carrouge and Le Gris make everything about themselves, and how they both do her injustice. What must be remembered is Margaret’s bravery, not swordsmanship.

There are obvious points to the problems with the women’s point of view that have survived to this day – to the point that further metaphors become superfluous. However, I can’t help but feel that the film is making some of the same mistakes it does in medieval society, by giving more space to men and their selves than the voice of women. And there are no other female characters around Margaret more than cartoons.

the story It culminates in a really intense duel, but the three parts leading up to there are too uneven for Ridley Scott’s knight drama to be particularly memorable.