'The Last Duel' review: Ridley Scott delivers a messy #MeToo epic Ridley Scott's epic, which opens in 1386 Paris, tells the story of a duel between a squire of a knight from three points of view — including that of the woman they're fighting over.


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'The Last Duel' is a 'Rashomon'-style #MeToo story — and a messy medieval epic

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This is FRESH AIR. It's been 23 years since Matt Damon and Ben Affleck won a screenwriting Oscar for "Good Will Hunting." Now they've teamed up again, this time joining forces with the writer Nicole Holofcener on the script for "The Last Duel," a drama set in medieval France. Damon and Affleck both appear in the movie, along with Adam Driver and Jodie Comer. It's directed by Ridley Scott. Our film critic Justin Chang has this review.

JUSTIN CHANG, BYLINE: "The Last Duel" is a sprawling, often ungainly movie, a talky, three-part "Rashomon"-style drama that mixes past and present-day politics. But there's a bracing intelligence to its messiness. It opens the way a lot of Ridley Scott period epics do - on a gloomy day, with two sides preparing for battle. We're in Paris in the year 1386, and the combatants are the dashing squire Jacques Le Gris - that's Adam Driver - and the sullen knight Sir Jean de Carrouges - that's Matt Damon. Jean's wife, Marguerite, played by Jodie Comer, watches anxiously from her seat. Just as the two men are about to clash lances, the movie cuts away and rewinds several years to show what brought these three characters to this moment. There's a lot more rewinding to come.

"The Last Duel" is based on a true story that it tells no fewer than three times, each time from a different character's perspective. The script, adapted from Eric Jager's nonfiction book, emerged from a unique collaboration among three writers. Damon and Ben Affleck wrote the first two chapters focusing on the men, while Nicole Holofcener wrote the third chapter centering on Marguerite. It's an ingenious approach to what plays like a medieval #MeToo story - tackling the dynamics of power, class and gender in an era when women were regarded as little more than male property.

The opening chapter focuses on Carrouges, played by Damon with a righteous scowl and a mullet so hideous it almost immediately turns you against him. Carrouges is a brave warrior from a long line of brave warriors, but also a proud, petty man with a chip on his shoulder. We first see him and Le Gris in 1370, fighting valiantly against the English and becoming close friends. But Carrouges begins to feel resentful when their superior, Count Pierre d'Alencon, a saucy libertine played hilariously by Affleck, takes Le Gris under his wing. The count even gives Le Gris a coveted piece of land that was originally intended for Carrouges as part of his wife Marguerite's dowry, leading to years of legal struggles.

Then one evening, Marguerite comes forward and tells her husband that while he was away, Le Gris came to their castle in Normandy and raped her. Carrouges takes the accusation public, setting in motion a duel between himself and Le Gris which would become the last trial by combat officially recognized in France. At this point, the first chapter ends, and the movie returns to the beginning, this time replaying events from Le Gris' perspective. As one of the town's closest allies, Le Gris has come to enjoy a life of privilege and debauchery. And Driver basically plays him as God's gift to women. That stokes his tensions with Carrouges, who eventually is made a knight and demands that Le Gris show him respect in this heated exchange.


MATT DAMON: (As Jean de Carrouges) I will not be patronized by the squire who lies about court waiting to be feted with gift upon gift upon gift and risks nothing - nothing. He may acquire more property in this world, find more favor, eat more, drink more, bed more and otherwise call himself a man of arms. But in this hall and any other in my company, he will call me sir - sir, sir.

ADAM DRIVER: (As Jacques Le Gris) Indeed, good sir. Enjoy your time in Paris, Sir Jean.

CHANG: Around this time, Le Gris falls madly in love with Marguerite and becomes certain that she reciprocates his feelings. That brings us to their fateful encounter, in which Le Gris convinces himself that Marguerite's protests are merely the signs of a guilty conscience. But even though the movie is showing us his version of events, it rejects his delusion completely. What we see is unmistakably a sexual assault in which Marguerite repeatedly says no and tries to push him away. The third chapter, which unfolds from Marguerite's perspective, revisits the rape scene. And for some viewers - fair warning - it may seem like one grueling replay too many, especially since Marguerite's trauma is now even more apparent. But this is also the chapter in which the moral arc of the story snaps into focus.

After so much boorish male behavior fully embodied by Damon and Driver, the fierce intelligence and humanity of Comer's performance is like a balm. Marguerite emerges as by far the most honest and clear-eyed of the movie's three leads, heroic in her refusal to stay silent about what she endured. Near the end of the film, Marguerite finds herself on trial, forced to defend her rape allegation in a court full of men trying to discredit her. The sequence plays like dark satire, suggesting how much has changed and also how much hasn't. And then there's the duel, which feels almost subversively anticlimactic. It delivers all the gory virtuosity you'd expect from Ridley Scott. But something about it rings deliberately hollow. It hardly matters which man wins, the movie seems to be saying, in a world where women are destined to lose.

DAVIES: Justin Chang is film critic for the LA Times. On Monday's show, British actor and singer Cynthia Erivo - she played abolitionist Harriet Tubman in the film "Harriet" and Aretha Franklin in "Genius: Aretha." She won a Tony Award for her performance in the Broadway revival of "The Color Purple." Now she has a debut album. I hope you can join us.


CYNTHIA ERIVO: (Singing) Gone is the way we used to smile, my dear.

DAVIES: FRESH AIR's executive producer is Danny Miller. Our technical director and engineer is Audrey Bentham, with additional engineering support from Joyce Lieberman and Julian Herzfeld. Our interviews and reviews are produced and edited by Amy Salit, Phyllis Myers, Sam Briger, Lauren Krenzel, Heidi Saman, Therese Madden, Ann Marie Baldonado, Thea Chaloner, Seth Kelley, Kayla Lattimore and Joel Wolfram. Our producer of digital media is Molly Seavy-Nesper. For Terry Gross, I'm Dave Davies.


ERIVO: (Singing) But I know there's no point in waiting for what I can't see. Holding my chest as all my tears fall out, my mind's in a spin as all the pain pours down. What can I do to make these days go by? I haven't the strength to make the rainfall die. Just want to remember the good, good, good, good, good - want to remember the good, good, good, good, good. What can I do to make these days go by? - when darkness surrounds me but I see the light - just want to remember the good, yeah. Gone are the lies we used to tell ourselves.

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