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Sunday, October 17, 2021

‘The Last Duel’ review: #MeToo. a medieval epic in the era of

It should come as no surprise that Ridley Scott, who has produced her share of swaggering masculine epics, has directed what may be the big screen’s first medieval feminist vengeance saga. In addition to his love for men with powerful swords, Scott has an affinity for tough women, prickly and tough and thinking women, not physical cartoons. They’re invariably cute, but then everything in Ridley Scott’s dreamland has a wonderful shimmer.

Even the slime and blood glide in “The Last Duel,” an old-fashioned spectacle with a #MeToo twist. Based on the fascinating true story of a woman, a knight and a squire in 14th-century France, the story was big news at the time and was reimagined for contemporary sensibilities by Scott and an unusual ensemble of screenwriters: Nicole Holofsner and two has been prepared. Among the stars of the film are Matt Damon and Ben Affleck. Together, they tear the moldy fig leaf out of a Hollywood staple, Arthurian-style romance – with its chivalrous code, knightly virtuosity and courtly manners – creates a mercenary, transactional world of men, women and power. To appear. The result is rightly anti-romantic.

Damon, with dimpling facial scarring and a comically sordid mullet, plays Jean de Carruges, an aristocrat over his fortune, who ends up fighting on behalf of the king. The intrigues begin and soon intensify after he marries a younger woman, Marguerite (Jodie Comer), who brightens up his life, but doesn’t do much for his sour nature or unfortunate beauty. . Arrogant and petty, his lips spoiled in a puck, Jean settles with Marguerite but turns foe from his friend, Jacques Le Gris (Adam Driver, a juiced-up Basil Rathbone), with Count Pierre, a social climber. The Alliance, a licensed power player (Affleck, in Debauched Glory).

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It’s a juicy lineup of familiar characters who are greedy and mean compared to the people who usually populate historical epics. But there is no noble oblige or courtly love, no dragons, witch women or aggressive British accents. Instead, there are debts, rancor, fights, contacts, an occasional naked nymph and endless jockeys for male status. Jean marries Marguerite to increase his prestige and wealth; By favoring Pierre neatly Jacques enriches himself. For her part, Marguerite is passed over from father to husband, who later, in a shocking moment, orders her to kiss Jacques publicly, in response to Jean’s resumed good will. As evidence for his fanatic. This is a devastating gesture.

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