Matt Damon and Adam Driver Bring Pure Ferocity in 'The Last Duel'

Ridley Scott’s “The Last Duel” reechoes the splendor of the filmmaker’s “Gladiator” through a prism of a tripartite script laden with intrigue, treachery, and angst— all leading up to a highly sensational trial by combat.

At the heart of the real-life story, based on Eric Jager ‘s 2004 bestseller, are two French noblemen and the woman at the center of their conflict. Set in 14th century France, “The Last Duel” chronicles the trio’s relationship from its rosy beginnings to its brutally piercing end, the country’s last legally sanctioned duel to the death.

Watch the trailer.

In the film, Matt Damon plays Jean de Carrouges, a knight, whose second wife Marguerite de Carrouges (Jodie Comer) accuses a squire, Jacques Le Gris (Adam Driver), of raping her. To settle the score, the two men will have to battle each other before a crowd presided over by King Charles VI (Alex Lawther) on December 29, 1386. Marguerite knows too well that her husband’s defeat would mean her execution by burning at the stake for the crime of bearing false witness.

Structurally, the plot, written by Damon, Ben Affleck and Nicole Holofcener, is told in three parts, each detailing the dispute in three differing narratives from the perspectives of the three main characters. Indeed, fans of Akira Kurosawa’s “Rashomon,” will see the groundbreaking film’s influence in the storytelling.

Following the tense and gripping opening scene, the film flashes back to 16 years prior, where it shows Carrouges and Le Gris are great friends, who both serve the feudal lord Count Pierre de Alençon (Affleck). Meanwhile, Jean narrates his version of the truth in which it is about a wronged man standing up for his beloved’s honor.

Then Le Gris follows with his own version trying to convince us that he is being maligned over a mere misunderstanding, and finally, the truth according to Marguerite. Expect to learn about the trio as they see themselves as well as others see them. Be forewarned: The depiction of Marguerite’s violation is explicit.

With a running time of 152 minutes, the film does not feel overly long and skillfully immerses audiences in the historical texture of a Parisian 14th century, where social status unequivocally reigns supreme. You’ll see dazzling swordfights, nimble storytelling and stunning cinematography.

All in all, Scott has managed to build up the tension and anticipation with sheer adroitness; the script is well-crafted, and the trio of leads are outstanding.

So who’s telling the truth? Jean, Jacques or Marguerite? You just have to go see the movie and decide for yourself.

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