Truth, Such a Fleeting Concept
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
The Last Duel (Ridley Scott) rated R 153 min.
Opening Chatter (no spoilers): Last weekend marked a pandemic-related-milestone for me as I actually went to a theater for 2 weeks in a row assuming that my Pfizer vaccinations along with a recent booster would protect me (plus there being only about 10 other people in the auditorium for a mid-afternoon-screening [I can see why theater-owners are still nervous even when something like Halloween Kills {David Gordon Green} surprisingly rakes in a whole lot of dough even while being simultaneously-available on Peacock streaming]) like in last week’s cautious venture out into my preferred-viewing-environment to see Daniel Craig’s farewell to James Bond in No Time to Die (Cary Joji Fukunaga; review in our October 14, 2021 posting). While I wasn’t quite as impressed this time with The Last Duel, the combination of director Scott and primary male actors Matt Damon, Adam Driver, Ben Affleck (sorry, I’m not familiar with lead female Jodie Comer from BBC America’s Killing Eve; I can keep up with only so many TV series) plus a generally-generous-response from the CCAL compelled me to defy COVID-Delta once again to see what would become of this historically-based-tale of a noblewoman raped by a nobleman in 1386 France (with consistent denials on his part, consistent declarations from her even though death awaited whichever one of them was judged to be lying) told in 3 chapters from the various perspectives of the 2 already noted plus her husband. We begin this multi-faceted-story with the men being locked into their armor as they prepare to battle to the ultimate finish, the woman also being dressed to be part of the huge audience witnessing this horrific public spectacle, then we shift into their separate narratives that will soon be detailed below.
In addition to the brutal, deadly duel there are also battle scenes between French vs. English or Scottish armies, so there’s little pleasant to watch here except the well-presented-explorations of the society of the time (how much have we transcended it where abuse of women is concerned?) in terms of the standard misogynistic attitudes toward a woman’s worth in the affairs of men (pun somewhat intended) vs. a specific woman who refuses to play by expected norms even as her own life’s at risk. Also, in the Short Takes section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, such tedious software!) along with that standard dose of industry-related-trivia.
Here’s the trailer for The Last Duel:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $ (as well as recognizing those readers like me who just aren’t that tech-savvy). To help any of you who want to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: This film’s adapted from Eric Jager’s novel The Last Duel: A True Story of Trial by Combat in Medieval France (2004)—itself based in historical accounts about the people to be described below (although the actual last sanctioned French duel occurred much later—1547—in which Guy Chabot de Jarnac triumphed over François de Vivonne who later died from those battle wounds [see here for details]). After the brief opening scene noted above about the combatants and the wife who claimed rape being dressed for this brutal occasion, the duel begins with the men on horseback preparing to charge each other as we finally get the opening credits followed by the first of 3 chapters within this narrative, titled “The truth according to Jean de Carrouges" (Matt Damon). Within his account (where we witness events as seemingly being told to us by each 1 of the 3 main characters, focusing on his/her specific viewpoint) he’s a brave soldier (technically a squire) eventually fighting for teenage King Charles VI (Alex Lawther) against the English, but we see him first in 1370 in combat alongside his close friend/fellow squire, Jacques Le Gris (Adam Driver), where Jean’s battlefield exploits are celebrated. However, when the king’s cousin, Count Pierre d’Alençon (Ben Affleck) is named overlord of this sector of France the new near-despot demands settlement of overdue taxes de Carrouges (and others) can’t pay so he seeks a new wife (his previous one, and their child, died of the plague) with a hefty dowry, Marguerite de Thibouville (Jodie Comer); as the marriage proceeds, however, he’s shocked to find a particularly-desirable piece of land’s already been taken by Count Pierre, then given to Le Gris, setting up an intensifying-hostility.
In anger over this intentional humiliation, de Carrouges sues Count Pierre to acquire the land, an effort rejected by the king, the Count further sowing discord by appointing Le Gris to the Captaincy of a fort de Carrouges assumed he’d inherit after his father’s death. Next, Jean’s abroad fighting in Scotland (where he’s knighted despite a battlefield defeat); he comes home only to go quickly to Paris to receive gold owed to him, then returns to find his wife in distress, finally admitting she’d been raped by Le Gris. Aware he’d get no fair judgment from the Count, de Carrouges appeals to the king for a duel to the death with Le Gris, but it’s more about how he’s been violated (as his wife’s his property) than how she’s been humiliated so the challenge is made to justify Jean's public image.
In “The truth according to Jacques Le Gris” we see Jean de Carrouges’ eventual-adversary as a man with a likewise-high-opinion of himself but seemingly concerned about others around him, attempting to be helpful when he can although he easily becomes disdainful of his former friend—especially in private conversations with arrogant Count Pierre, as these 2 semi-royal-rascals become increasingly close—whom we see Jean in this version as brutish, hot-tempered, a bit of an uncouth-embarrassment around the seemingly-more-refined-figures of d’Alençon’s court (where wine and debauchery flow in equal measure). Le Gris is well-educated, shares a command of Latin with Count Pierre, gets the scrambled finances of his liege in order, is quite successful in collecting those outstanding debts so d’Alençon heaps praise and gifts upon Le Gris, including that prized piece of land so earlier desired by de Carrouges (taken from Marguerite’s father, Sir Robert de Thibouville [Nathaniel Parker] as part of his payment to the Count’s coffers). Upon first meeting Marguerite (at an event attended by Jean and his wife in an attempt to publically smooth over the rising-bad-blood between the former close friends), Le Gris is attracted to her, feels he’s a much better match than her illiterate, uncouth husband, with seemingly-mutually-aroused-passion in Marguerite as we see her in a brief scene being directly seductive toward Le Gris then we cut to him waking up alone in bed sweating profusely. Again, de Carrouges is off fighting for his king in Scotland ,but when he returns he gets into a public confrontation at an event with the Count when Le Gris fails to address Jean as ‘Sir,” seeming to be so foolish in this process according to Jacques’ cinematic-presentation.
Later, when Jean’s in Paris collecting his gold, Marguerite’s left alone in her home as her live-in mother-in-law, Nicole de Carrouges (Harriet Walter)—who clearly doesn’t care much for her son’s second wife, as they quarrel frequently—takes all the servants with her on some unspecified-errand—allowing Le Gris to trick his way into her dwelling, chases her up into the bedroom, rapes her but with the constant “justification” she really wants it, that their mutual attraction is so strong she’s not really been raped, although due to de Carrouges’ furious response upon returning home Le Gris quickly knows what trouble he faces so he calls upon Count d’Alençon to protect him at their level—constantly claiming he’s innocent of any rape charges anyway—but ultimately agrees to the king’s sanctioned-duel in order to save his honor. (In a wicked scene, he confesses his sin to a priest only to be defended by this clergyman about the difficulty of men resisting seductive women since Eve.)
The third chapter, “The truth according to Marguerite de Carrouges” (opening graphic clarifies the filmmakers’ intentions by then fading out all the words except “the truth”) gives us many additional scenes not as retold repeats from the first 2 versions: some making it clear how desperate Jean de Carrouges is for a male heir with his aggressive sex acts toward his wife where she seems to be nothing beyond a bodily-means to his desired end; others emphasizing incompatibilities between Marguerite and her mother-in-law; still others where Marguerite admits to an untrustworthy female friend Le Gris is attractive (but showing no interest in him) which will be used against her in the testimony before King Charles VI where there’s even an attempt to accuse Marguerite of not knowing who actually raped her, as if the event’s trauma scrambled her memory (the same attempted “defense” of now-Supreme Court-justice Brett Kavanaugh when charged with long-ago-sexual-assault by Christine Blasey Ford during his 2018 Senate confirmation process). There are also attempts by “experts” at that Royal hearing to assert “scientific” certainty a woman cannot get pregnant unless she experiences the same level of pleasure as her husband during lovemaking (a tactful way in those days of referring to orgasm), thereby blaming her for not having produced an heir for Jean as well as the assertion a woman cannot get pregnant after being raped (by the time we get to the arguments about the need for the duel Marguerite is several months pregnant with no sure evidence of paternity)—the same sort of claim made in 2012 by Kansas U.S. Representative Todd Akin in his run for the U.S. Senate before he backtracked, still losing the election to Claire McCaskill.
There’s also a sort of allegory scene where de Carrouges has purchased a prize mare with plans to make a fortune from selling her offspring but he’s horrified when an ordinary stallion gets loose, humps her before he can be stopped, impregnates her, alluding again to the idea of Le Gris ransacking his “property.” In the rape scene by Marguerite it’s clear Le Gris is simply imposing his horny will upon her, even though her husband’s first response is an angry demand as to the truth of her charges rather than empathy for his wife, even as his attitude into the duel is more about how he’s been wronged by this assault more so than his spouse. At the King’s hearing Le Gris continues to deny rape ever occurred while Marguerite is pressured to renounce her claims with the penalty of being burned at the stake as “God’s judgment” if her husband loses the duel; she refuses to relent. ⇒At the battle between the 2 men they pound each other with lances, swords, other weapons, even fists as the outcome shifts when each gains fleeting advantage until a wounded Jean appears to lose, yet he lashes back, gains the upper hand. After demanding Le Gris renounce his innocence to no avail, de Carrouges fatally stabs him, freeing himself and his wife from any taint of lying, with Le Gris’ body stripped, hung in public humiliation. Bloody and battered, Jean’s still able to ride away (Marguerite behind him) to the cheers of the crowd. In a last scene we see her a bit later with her young son, followed by final graphics telling us Jean died not long after the duel in a crusade against the Ottoman Empire while Marguerite continued to manage the family holdings, never remarrying.⇐
So What? How much of this tale is true, how much has been fictionalized is not something I can report except that its basic facts are accurate in terms of the growing enmity between Sir Jean de Carrouges and Jacques Le Gris, the rape charge by Marguerite de Carrouges (unique for this time for a woman to publicly defend herself this intently), and the result of the duel. If you’d care to research the situation for yourself this site provides useful information about what became of the main characters in this narrative (including Count Pierre d’Alençon) after the events depicted in the film while this one offers an even-longer-account of those events, the aftermath, with many years going by allowing Le Gris’ claim of innocence to be more generally accepted even though nothing definitive exists in any clear evidence from the time it all occurred. Certainly, this telling of the story is intended to defend Marguerite, brush aside any sense of her willing cooperation in the assault on her body, which seemed to be far too easy an assumption on the part of the men accusing her of defaming Le Gris (a favorite of the powers-that-be of this long-ago-time, although the sense that women often bring sexual assault on themselves through actions, dress, willing inebriation, saying “no” while implying “yes” is still all-too-common worldwide in our time) with the assembled-bloodlust-crowd watching the duel all too eager to cheer for whatever the result might be, rationalizing for themselves the Divine “acknowledgement” truth's confirmed, no matter the victor on the battlefield.
On a more pragmatic level, this film does give us a physical sense of this ancient period (by our rapidly-built-and-rebuilt-cultural standards) in terms of dress, living quarters, attitudes among the mighty and the lowly, how important direct verbal communication was when there was nothing faintly resembling our contemporary news/attitude-sharing-technologies so that the status of the speaker of a given statement often was enough to confirm the veracity of what was said (especially where the king’s concerned) as even trials were dependent on the prerogatives of the judges (Hmm, how much has that changed either? We can only hope for the best.), as with Count Pierre’s unquestioning loyalty to Le Gris despite the ongoing military support offered him by de Carrouges while Le Gris settled into aristocratic-sycophancy. Maybe such “palace intrigue” isn’t so different today from back then, but, if so, at least this story shows how consistent are these certain aspects of human nature.
One other thing many reviewers have noted is how … Duel shows us a structure akin to Akira Kurosawa’s international classic, Rashomon (1950), where we get the presentation of the same events from different perspectives of the people involved, in this case a question of what happened on a sultry day in medieval Japan as a samurai and his wife are traveling through the woods, accosted by a bandit, with the husband later found dead, the wife either raped or compliant with her attacker as conflicting testimony comes from each of these 3 (the deceased husband speaking through a medium) along with 2 other travelers who witnessed certain aspects of the events. The main difference is that in Kurosawa’s masterpiece we never know for sure what happened because the conflicting accounts aren’t resolved whereas in The Last Duel there’s no question Marguerite was raped, with even Le Gris’ version modified only in his own mind as to her stated-protest/private-acquiescence with little evidence to back up his rationale of “she wanted it.” As to whether you’d prefer to explore such an intriguing-experience of subjectivity in the 88 min. of Rashomon or the 153 min.-expansion of The Last Duel, you’ll have to decide for yourself; I think … Duel could have been cut considerably (did we really need the detail—and the gore—of several battle scenes?), although it’s longer-than-normal-presence may be an attempt to acknowledge what’s in the novel’s source material (I couldn’t begin to say) or a goal of giving each of the 3 “narrators” (implied here, not in the literal sense of Rashomon) sufficient evidence to state their separate cases rather than using a singular narrative more akin to Marguerite’s, yet it just feels to me to be too much exploration of a topic that could have been better condensed—of course, you could state that about this review also.
Bottom Line Final Comments: As with the CCAL’s internal split in last week’s posting about No Time to Die, once again we have the Rotten Tomatoes reviewers going strong with 86% positive reviews while the folks at Meteoritic hold back somewhat with a 67% average score (not too bad for them, yet not close to RT’s exuberance either), so this week I’m more with the MC results (there’s a lot to be interested in while The Last Duel evolves in its multi-perspective-manner, but especially with the first 2 chapters it gets a bit tiring watching mostly the same events but just with mostly-subtle-twists on how these male characters perceive themselves; ultimately, when we get to Marguerite’s version it became much more interesting, following a path with just a bit more extension could have been the entire film, although that would be the standard path, wouldn’t be as easily able to contrast her experience of these incidents to those of the 2 primary men in her adult life). Audiences showed hesitancy toward it during its debut weekend with a soft opening of $5.2 million in domestic (U.S.-Canada) theaters—3,065—with a global take of $9.4 million, but, even with this well-known, well-embraced cast, it’s hard for a medieval rape drama (even one where a lot of blood’s spilled) to compete with Agent 007 (… Die’s at $101.2 million domestically, $450 million worldwide after only 2 weeks) or the deadly Michael Myers’ return to slasherdom in Halloween Kills (I say “No thanks” because the original [John Carpenter, 1978] and Halloween H20 [Steve Miner, 1998] were enough of that sort of thing for me) debuting with $52.1 million domestically, $57.5 million globally. If what you’ve read here about The Last Duel has intrigue for you, though, you’ll probably be able to sit far enough away from your screening-neighbors to keep COVID-Delta at bay at a moviehouse or check JustWatch in awhile for when it will come conveniently, probably cheaply, to home streaming.
Normally, as I wrap up my reviews I use the device of a Musical Metaphor to offer a final, allusive comment on the cinematic subject, a situation where I'm usually able to come up with something reasonable in a short time, but for The Last Duel I just couldn’t find anything that seemed appropriate until I thought about Brian Wilson’s song (co-written with Terry Sachen, some lyrics changed by Mike Love) “Hang On to Your Ego,” the original version of what became “I Know There’s an Answer” on the 1966 Pet Sounds album. However, for this song to work in the context of The Last Duel you have to misinterpret its references and intentions as I’d done for years until I read more about what Wilson had in mind with it. Given lyrics like “They come on like they’re peaceful But inside they’re so uptight […] Hang on to your ego Hang on, but I know that you’re gonna lose that fight,” I thought the song was about self-centered jerks who would eventually lose their conceit, become more open-minded with encouragement from less-self-absorbed-friends; now I understand Wilson was using “ego” in Freudian terms as the reality-based aspect of our individual natures, the balancing point between the pleasure-principle id and the negative aspects (especially guilt) of the moralizing super-ego as he was concerned about casual LSD users losing touch with their own realities, simply swimming in a drug-induced-haze. Well, with that in mind, let's go back to The Last Duel and any connection it might have to this pre-revision-Beach Boys-song, where you might could blend my misconceptions with Wilson’s intentions by seeing how difficult it is for either de Carrouges or Le Gris to let go of their self-justifying egos in telling their stories to enhance their individual status in late-14th century-France, so “what can you say [to open these minds] that won’t make them defensive”?
By contrast, we have Marguerite who’s learned to “Hang on to [her] ego” in a more positive manner, recognizing the self-serving attitudes of the important men who want to possess her for their own advantageous-reasons while she refuses to bow to the conventional demands of her medieval-society about renouncing her accusation of rape (dangerous as the final outcome of the duel may be for her, yet she remains steadfast, not “wast[ing] all [her] thoughts at night”). Or, if all this song represents is my wrong interpretation it’s clear in The Last Duel that each of the male leads (along with Count Pierre d’Alençon) are misinterpreting themselves, none of them as noble, virtuous, or sincerely-respected as they see in their private mirrors, with Marguerite’s story available to us to help put them in less ego-driven (in the post-Freudian sense) perspective reminding us all of how we’re prone to manufacturing a persona that fits our needs even if it’s removed from the reality we create.
SHORT TAKES (an accurate statement for a change)
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Saturday October 23, 2021
8:15 PM Unforgiven (Clint Eastwood, 1992) For me, the best western ever even as it deconstructs aspects of the genre partly established by Eastwood in earlier movies, about an old, reformed killer (Eastwood), failing as a pig farmer, accepting the reward-offering-task (along with Morgan Freeman, Jaimz Woolvett) of killing 2 cowboys who cut up a whore in Big Whiskey, Wyoming, a town run by
an egotistical, brutal sheriff (Gene Hackman) where another gunman (Richard Harris) is also on the hunt. Features the famous line of Eastwood to Hackman, “Deserve’s got nothing to do with it,” just before blowing his head off. Oscars for Best Picture, Director, Supporting Actor (Hackman), Film Editing (Joel Cox), plus nominations for 5 others including Best Original Screenplay, Best Sound.
Sunday October 24, 2021
2:30 PM North by Northwest (Alfred Hitchcock, 1959) One of Hitchcock’s top success (that’s saying
a lot) about a case of mistaken-identity gone terribly wrong as smug ad executive Roger Thornhill (Gary Grant) is thought to be a U.S. spy, hunted by thugs working for an evil foreign agent (James Mason). A marvelous collage of great scenes including the crop-duster-in-the-cornfield attack; also stars Eve Marie Saint, Leo G. Carroll, Martin Landau. Great overall combo of tension and laughs.
11:00 PM La Strada (Federico Fellini, 1954) Cinema masterpiece, shows Fellini’s roots in cinematic Neorealism as he moves toward the realm of Lyrical Realism (before his full shift into Modernism). Story of a brutish strongman circus performer (Anthony Quinn) who buys a woman (Giulietta Masina) from a poor family to be his assistant, treats her badly, is violent toward a tightrope walker (Richard Basehart) who tries to befriend her. Superb acting. Won the Oscar for Best Foreign Language Film.
Monday October 25, 2021
3:00 PM The Rules of the Game (Jean Renoir, 1939) #3 of my All-Time Top 10 (#1 Citizen Kane [Orson Welles, 1941], #2 Persona [Ingmar Bergman, 1966]) by one of the great Realism directors (grand deep-focus cinematography; Renoir also plays Octave in the film) with a satire (plus dramatic aspects) of superficial values of the French aristocracy on the verge of WW II (banned in France even before Nazis marched in for “undesirable influence over the young”). Centers on the several affairs of a wealthy Marquis, his wife (with a famous pilot), as well as her flirty maid (with a poacher).
If you’d like your own PDF of the rating/summary of this week's review, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: IATSE TV and film production personnel may still vote to strike. As usual I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search for very many streaming/rental/purchase movie options at JustWatch.
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Here’s more information about The Last Duel:
https://www.20thcenturystudios.com/movies/the-last-duel
https://www.youtube.com/watch?v=mcB5BIOk_qo (4:48 interview with director Ridley Scott and actor Jodie Comer) and https://www.youtube.com/watch?v=RD_KVAR021s (6:10 interview with actors Ben Affleck and Matt Damon who are also co-screenwriters for this film along with Nicole Holofcener); sorry that I didn’t see anything with Adam Driver to add his comments to these links.
https://www.rottentomatoes.com/m/the_last_duel_2021
https://www.metacritic.com/movie/the-last-duel
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
But, while I’m at it, I should also include another of my top favorites, from the night before
at Desert Trip, the Rolling Stones’ "Gimme Shelter" (Wow!), a song always “just a shot
away” in my memory (along with my memory of the great drummer, Charlie Watts; RIP).
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