Matt Damon in The Final Duel.
Photograph: twentieth Century Fox

There are two Ridley Scotts. There’s Ridley the Visionary after which there’s Ridley the Populist. Every has delivered his share of masterpieces, duds, and problematic cult favorites: Visionary Ridley gave us Blade Runner but in addition 1492: Conquest of Paradise and The Counselor, whereas Populist Ridley gave us Gladiator and Thelma & Louise but in addition G.I. Jane and White Squall. The 2 do generally meet. Alien is the work of each an artwork pupil with massive concepts and a first-rate entertainer; Black Hawk Down is a rousing, Cubist battle film; and although Kingdom of Heaven’s theatrical lower is a pandering mess, its director’s lower is, amazingly, a elegant, considerate masterpiece. This stress has run all through the course of Scott’s profession, and it’s one motive that approaching any new movie from him is a splendidly suspenseful ordeal. You by no means know if you happen to’ll depart the theater enthralled, excited, bored, or totally perplexed.

Which brings us to Scott’s newest effort, the medieval drama The Final Duel. With its tripartite construction — the image is cut up into three sections, every displaying the identical sequence of occasions from a distinct perspective — and grim subject material — it’s concerning the final sanctioned duel in France, a 1386 standoff between two males over a grisly accusation of rape — one could count on the movie to be one thing distant, grave, difficult, sophisticated. However by some means it seems to be Scott’s most entertaining film in many years.

Is that even allowed when the subject material is so disturbing? The three characters on the coronary heart of The Final Duel are Jean de Carrouges (Matt Damon), a French nobleman recognized for his loyalty, bravery, and ferocity; his spouse, Marguerite (Jodie Comer), the attractive daughter of a disgraced nobleman, whom Jean marries partly in an effort to alleviate his crippling monetary burdens; and Jacques Le Gris (Adam Driver), Jean’s comrade in arms, a squire who rises precipitously within the ranks at Jean’s expense when he turns into a confidant and enforcer of their lord, Depend Pierre d’Alençon (Ben Affleck), a hedonistic, shallow dandy. The movie first charts the dissolution of Jean and Jacques’s relationship over issues of cash, rank, and jealousy. Due to Jacques’s devotion to Pierre, he will get the captainship Jean as soon as felt was his birthright in addition to the land promised to Jean in Marguerite’s dowry. An outraged Jean repeatedly raises a stink to their lord about the truth that his former good friend is getting all of the issues that had been as soon as rightfully his, which in fact places him in additional disfavor with the sniveling Pierre. Every thing involves a head, nonetheless, when Marguerite accuses Jacques of raping her whereas Jean was away searching down his fee for battle. An irate Jean takes the grievance all the best way to King Charles (Alex Lawther). The duel of the title is much less a duel and extra a vicious, metal-as-fuck trial by fight between Jean and Jacques — a spittle-flecked, grotesque orgy of hacking, slicing, and stabbing that’s alternately lumbering and frenetic.

We see the labyrinthine sequence of incidents main as much as the duel from Jean’s perspective, then Jacques’s, then Marguerite’s. The script was written by Affleck, Damon, and Nicole Holofcener, with the boys dealing with the sections from the male standpoint and Holofcener dealing with the feminine variation. It might at first seem to be a Rashomon-style train in exploring the slippery nature of fact, however the truth is it’s fairly the alternative: Every of the three chapters begins with the phrases The reality based on … however all of them mainly inform the identical story.

What does shift is the emotional valence of the scenes. A courageous, impulsive cost into a bunch of murderous troopers in Jean’s telling is revealed in Jacques’s to be a dumb stumble into an enemy lure. In Jacques’s model of the occasions, we see him making an attempt to defend the broke, not-very-bright Jean to his callow lord, Pierre, however what Jacques thinks are scraps that Jean must be proud of are seen by Jean as insults to his unquestioning loyalty. Jean’s rage on the rape accusation, seen by him as a matter of precept, is revealed in Marguerite’s eyes to be fueled as a lot by fury at her for placing him on this state of affairs. To him, she’s not a lot a spouse as a bit of property that dares, inconveniently, to have a thoughts and a soul. To her, he’s a crude storm she should do the whole lot to climate. Tonal emphasis turns into the whole lot as we go from one standpoint to a different, however the fact itself is never doubtful. What we’re watching isn’t a deconstruction. It’s a denunciation, a damnation, and nearly all the boys are happening.

Comparatively little is understood concerning the real-life occasions depicted right here, which frees the movie to animate this long-ago world with the sensibilities of our personal. (And why the hell shouldn’t it? We’re those watching, in spite of everything.) Marguerite, who briefly bonds at one level with Jacques over their shared love of medieval romance literature, doesn’t precisely really feel as if she belongs within the 14th century. Comer lends her an inside battle that feels completely relatable: She doesn’t need to rock the boat, however she has reached her limits. In the meantime, the seesawing friendship between Jean and Jacques feels not just like the tangled, alien relationship of two males who lived and fought 600+ years in the past however like one thing nearer to the emo fallout of a modern-day bromance undone by unspeakable breh-trayal. Damon brings to Jean the dim, burly solidity he has mastered in his middle-age: From one angle, he’s a steadfast, dependable soldier; from one other, he’s so boring and laborious that he’s completely unaware of the world or others in it.

After which there’s Affleck’s splendidly skeezy Pierre, a marvelously out-there creation who shouldn’t work in any respect and but turns into an engine of uneasy delights. “He’s no fucking fun,” Pierre declares of Jean, a line that must be a throwaway little bit of levity however that Affleck delivers with such debauched, motormouth aplomb that as quickly as he says it, we perceive Damon’s Jean de Carrouges isn’t, ever, ever going to get what he needs from this entitled mollusk of a person. Pierre is so disdainful of the whole lot (my favourite bit: Affleck pronounces the locality of Bellême as blahm) we will virtually odor the contempt. When he appoints Jacques to a excessive place, he playfully waves his palms in a mocking, abracadabra movement, proper earlier than the movie cuts to a bunch of troopers enacting an elaborate ritual for Jacques’s ascension. This efficiency will not be a joke: Affleck’s dismissiveness underlines the empty, corrupt gestures that lie on the coronary heart of the foundations, rituals, and traditions to which Damon’s and Driver’s characters — and societies basically — have wedded themselves. It additionally reveals how the informal phrases and actions of the highly effective result in life-destroying penalties for these beneath them. Affleck isn’t simply displaying off right here. His imperious efficiency is a sly messenger for the movie’s ethical imaginative and prescient, each hilarious and choke-on-your-laughs tragic.

All this might simply have resulted in a slog. Films that repeat a number of scenes from completely different views can grow to be tedious actually rapidly. And in reality, Scott hasn’t at all times been essentially the most assured of storytellers. He’s a grasp of temper and composition, however he tends to be at his greatest when working with narratives which were stripped to their necessities. The Final Duel is filled with incident and historic element, and its universe is a sophisticated one — but it surely appears the script, by its very nature, has ingeniously carried out all the required underlining for us. Even because it pretends so as to add complexity and context, it simplifies and focuses. It’s not a lot a historical past lesson as it’s a savage, stunning catharsis — a bonfire of the bros.

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