Director: Ridley Scott
Screenwriters: Ben Affleck, Matt Damon, Nicole Holofcener
By Roderick Heath
Ridley Scott’s first film in four years wields the unavoidable feeling of a culmination, and repudiation, more than forty years after his debut feature, The Duellists (1977). Scott’s career hardly seems finished yet and yet if he had retired after making The Last Duel the sense of circularity in regards to The Duellists would be irresistible, particularly in coming after his divisive but brilliantly grim and meta revisit to the Alien series, Alien Covenant (2017). Here he offers another film with “duel” in the title, sustaining in part the same driving theme of irrational and self-destructive resentment and fixation and acts of antiquated violence, as well as casually casting two American actors as period Frenchmen and avoiding Old Vic accents, to the consternation of some. The differences are revealing, of course. The Duellists was made heavily under the influence of Stanley Kubrick’s Barry Lyndon (1975), whilst The Last Duel, whilst paying overt homage to Akira Kurosawa’s Rashomon (1951), sees Scott truly wrestling with only one master, himself. It’s also now more than twenty years since Scott revived his stature as a major Hollywood director with Gladiator (2000), one of his most popular and beloved movies, albeit one that dated with punishing speed. Scott’s been returning to and improvising variations on that hit since, partly for obvious reasons – sticking “From the Director of Gladiator” on a movie poster featuring some hairy, sweaty dude clutching a sword seems an easy sell, even as these revisits have generally failed with audiences – but also, as has become increasingly clear, because it was the gateway into his late career obsessions.
So Scott has been revising Gladiator’s straightforward, even simplistic exalting of heroically bemuscled men resisting tyranny (I’ve long thought of Gladiator as less a modernised sword-and-sandal film than an transposing of a sports movie, in its exalting of the physically dynamic sporting hero as the only figure left to use who can transcend pure commerce in determining outcomes) from different angles of questioning, in the tangle of religion and sectarian identity explored in Kingdom of Heaven (2005) and Exodus: Gods and Kings (2014), and the exploration of emerging democratic impulses as presented by folklore in the violently uneven but doggedly interesting Robin Hood (2010). All of those films dealt in varying ways with Scott’s recurring late-career fascination with the birth of a modern concept of individual worth and identity in relationship with raw tribal identity and political power. The Last Duel completes the arc in essentially renouncing Gladiator’s fantasy, by recounting an obscure but fascinating nugget of authentic history, involving a duel to the death. The battle between Jean de Carrouges and Jacques Le Gris was one of the last to gain official sanction as a holdover of the old chivalric faith that trial by combat invoked direct deistic judgement, held outside Paris in 1386, and fought after Carrouges accused Le Gris of raping his wife Marguerite.
Through its very nature and moment, the event of that duel rests on a fault-line in historical consciousness, confronting our lingering fascination for the days of old when knights were bold and ladies fair walked with wafting silk trailing, with our simultaneous cynicism, which is also the period setting’s, an emergent scepticism close to the cusp of the Renaissance when, whether the powers that be admitted it or not, people knew damn well God didn’t express his will through two guys trying to murder each-other. It’s the sort of subject one could imagine an array of great filmmakers tackling with very different art – Robert Bresson, say, casting his dour eye on men wrapped in cold grey metal bashing each-other to death, or Richard Lester, impishly smirking at the absurdity, or Ken Russell, relishing the ritual of bloodshed and locus of wilful lunatic energy. For Scott, it’s a story that engages multiple strands of his career long concerns and stylistic explorations. The Last Duel offers a chance to bind together ways of seeing, ways that unfold on multiple levels – the narrative itself proffers multiple versions of the same events according to different viewpoints, correlated with the way the film operates as both a definite portrait of a historical epoch and a parable for contemporary concerns.
Unlike Rashomon, The Last Duel doesn’t hinge on a disinterested party’s viewing of events. Instead it presents the viewpoints of Carrouges (Matt Damon), Le Gris (Adam Driver), and Marguerite (Jodie Comer). After a brief prologue showing the preparations for the title duel in all its careful ritual measure presaging the unleashing of pure physical force, the relationship between the three characters is sketched in Carrouges’ opening narrative. Carrouges, the son of a respected Norman knight, sees himself as a doughty, unappreciated, wronged and justifiably frustrated man who has to pay his way through the brutal and dangerous life of a professional soldier. He saves Le Gris’s life when the two men are involved in an ill-advised but honourable attempt to lift the English siege of Limoges in 1370. Whilst they remain friends for a time afterwards, their bond sours as Le Gris becomes a trusted agent of their mutual lord Pierre d’Alençon (Ben Affleck) and is increasingly favoured by him to the extent of being handed both Carrouges’s father’s former title and estate. Carrouges marries Marguerite, the daughter of Sir Robert de Thibouville (Nathaniel Parker), an aristocrat held in general odium for formerly siding with the English: Carrouges is willing to overlook the disgrace in the face of Madeleine’s beauty and the opportunity to get hold of fine new estates.
One valuable parcel of land, Au-le-Faucon, which Carrouges firmly insists Thibouville give as part of his dowry, is instead claimed as recompense for feudal dues by Pierre and then handed over as a reward to Le Gris. Carrouges sues Pierre over the title to the estate, but fails, earning the lord’s peevish enmity and convincing Carrouges that Le Gris is plotting against him. Carrouges and Le Gris reconcile for the sake of accord amongst Pierre’s vassals, but the peace doesn’t hold, and Marguerite eventually reports to her husband that Le Gris assaulted her whilst Carrouges was in Paris collecting payment for one of his military ventures. The second narrative presents Le Gris’ perspective, seeing himself as a man of talent and intellect suitably rewarded. Pierre, disliking what he sees as Carrouges’ stiff-necked, charmless, and resentful persona, prefers Le Gris as an industrious employee and friend, inviting him into his inner circle and nightly orgies. Le Gris sees himself as tested to the utmost by Carrouges’ increasingly paranoid and irate streak and generally poor judgement, and feels an immediate connection with the multilingual and well-read Marguerite when he encounters her after reconciling with Carrouges, a connection which he interpreted as inevitably romantic. When questioned about his visit to the Carrouges castle to expiate it, Le Gris explains, “Of course she made the customary protests, but she is a lady.” The third chapter illustrates Marguerite’s experience, a perspective from which both Carrouges and Le Gris are seen as stripped of their pretences and self-delusions.
In terms of the film’s interlocking units of storytelling, each bearing the contrasting imprint of a different screenwriter which Scott has to stylistically unify, the impossibility of knowing crashes against the certainty of result. Damon’s chapter hands himself a part that hinges on his screen persona as a man who people tend to underestimate, for his curiously nondescript good looks, turned increasingly heavy-set in middle-age and matching capacity to play men driven by deeply repressed social or class resentment. Affleck’s chapter is as much a lampoon of Hollywood players in the fashion of his own movie Argo (2012) as it is a portrait of a destructively egocentric pair of men. Holofcener brings the feminine perspective, forcing a discomfortingly close identification with Marguerite as she sweats through several different forms of abuse. The real history invoked in The Last Duel is opaque: just what really went down between the Carrouges and Le Gris is unknowable beyond what they themselves said happened. The film itself finally is not. I gritted my teeth just a little bit as Scott designated the first two chapters as “the truth according to” but the last, more than a shade archly, sees “the truth” as those words fade more slowly from the screen. The ultimate point of Rashomon was that people inevitably see events that encompass them with a slanted perspective, according to the way they think of themselves and of other people. But fair’s fair: The Last Duel has a different end in mind, that yes, there can be a specific and ultimate truth that other people don’t always want to see, for whatever reason, and that people can also edit their own reality to make sense of what they do.
With a kind of irony allowed only to deities and film directors, Scott can make his film equivalent to the proposed metaphysical reasoning behind the concept of the trial by combat itself, as a vehicle to reveal such hidden truths. Only at a couple of points in the film does Scott and his trio of screenwriters entirely contradict what has already been portrayed, a way of approaching cinema that has a controversial aspect, as it requires the camera which reports narrative to us to lie. But it is used here with exacting purpose. Thus, where Carrouges remembers his attempt to intervene when the English slaughter French hostages at the Battle of Limoges as a valiant if doomed charge demanded by honour and humanity, Le Gris recalls as a calamitous surrender of reason to emotion that cost victory in the battle and almost got him killed. The event binds the two men in their erratic orbit, whilst also defining their relationship to Pierre, whose power over their lives and careers plays no small role in what happens. Carrouges becomes increasingly convinced that Le Gris, perhaps constantly aggravated by owing his life to the older, tougher knight, has become pathologically fixated on taking his stuff and showing him disrespect. Le Gris sees Carrouges as increasingly ridiculous and impossible in his lack of moderation and reason, and that he himself is merely the accidental beneficiary of Carrouges’ self-invited bad luck. Pierre’s personal detestation of Carrouges, sparked by his actions in the battle and reinforced when Carrouges sues him, and his indulgence of Le Gris, reinforces the deeply personal nature of power the age, as the lord has the right and facility to award and strip favours and posts, to oversee and manipulate legal contests, and generally make life easier or harder. Moreover, as Pierre admits to Le Gris in speaking of Carrouges, “He’s no fun.”
Affleck, in a performance reminiscent of the kind Peter Ustinov once gave in movies like Quo Vadis (1951) and Spartacus (1960) in the way he manages to offer levity and glimmers of satirical anachronism without despoiling the overall texture, portrays the medieval lord as a man with a strong streak of smug brattiness, but also a keen sense of his own prerogative and a good sense of which people will meet his needs and those who will not. Pierre comes to lean on Le Gris as both an intelligent manager of his affairs who can get things done, chiefly by employing standover and shakedown tactics to get money out of his vassals and tenants, and as a friend and confederate who comes increasingly to share and enjoy Pierre’s predilection for hedonistic pleasures, pleasures that are readily served up by the in-built pyramid scheme that is medieval social structure. Affleck helps to also bridge the film’s period setting and the more contemporary concerns, pitching Pierre as an indulgent friend and protector for Le Gris, and coaching him on how to handle Marguerite’s accusation: “Deny, deny, deny.” Affleck and Damon of course owed much of their breakthrough as major Hollywood players to the now disgraced and jailed Harvey Weinstein, and this line had the stinging quality of something they might have heard bandied about the Miramax offices at some point. Scenes depicting Pierre playing the easy, jocular host for his circle of friends, making a tart speech farewelling his pregnant wife as she heads off to bed, similarly lampooning a certain kind of Hollywood grandee as he and Le Gris then settle down to the proper business of buttering up the gathered with choice bawdiness.
A key encounter in the course of the tale as a whole sees Pierre deftly counter Carrouges’ scarcely controlled fury in reminding him of what he has every right to do, in a scene where Carrouges confronts Pierre and Le Gris at the celebration of Le Gris being given his father’s title. This scene is cut away from in Carrouges’ chapter, as he reports to Marguerite that he feels he spoke well, whereas through Le Gris’ eyes it’s the spectacle of his old friend making an ass of himself before a much-amused crowd, where Carrouges’ anger is self-defeating, and his attempt to argue to Pierre that Le Gris is a snake in the grass falls totally flat. Carrouges sees himself as a kind of working stiff of the aristocratic warrior class, the guy who, robbed by The Man and unfairly penalised for standing up for his rights, has to go to Scotland to find work, risking life and limb, gaining a knighthood in the process but still returning home to what he feels is snooty disdain. Glimpses of combat in the film in which Carrouges fights at Limoges and in Scotland exemplifies the famous formula of life being nasty, brutish, and short, but battle is also a realm where Carrouges is at least comfortable and competent. This self-portrait is undercut to a degree later when Marguerite learns Carrouges neglects collecting rents on his estate, and takes it in hand herself. Which is actually a nice depiction of one rarely elucidated aspect of medieval life, when the running of a great estate was a task that needed intelligent and competent people and often fell to wives to perform when their husbands were off at war, which tended to be frequent.
The Last Duel in this fashion assiduously details the mores and structures legal, military, and financial that underpinned feudal Europe, and examines the way those things meshed with the people who inhabited it. Part of the challenge in making such a film is to animate the very different ways the society of the age understood cause and effect, truth and falsehood, and individual identity itself, even as the actual people are entirely recognisable to us in their motives and emotional and behavioural extremes. Carrouges, for instance, is revealed through signing his name with a mark, to be illiterate, not uncommon for his time but giving a fascinating and revealing dimension to his feelings of paranoia and persecution in the face of Le Gris’ learning and competence in abstract matters like finance and letters: this represents an entire world that is at once entirely visible to Carrouges but also entirely incomprehensible, much in the same way that much biliousness today stems from the simultaneous ubiquity and incoherence for many of dominant areas of specialised learning like computer technology or high finance. As the titular duel itself confirms, this was still a time when a fearsome price to be paid in physical suffering was supposed to both substitute for, and potentially alleviate, spiritual suffering. Or, to take another attitude towards the same idea, fear of the latter was made more palpable and therefore more impressive and real by the threat of the former, helping create a kind of mental surveillance system to ensure good behaviour.
A very crucial part of the plot of The Last Duel as it reaches its home stretch is the revelation that loss in the duel for Carrouges also means an even more terrible fate for Marguerite too as the accuser, placing Marguerite in an impossible situation according to the sexist and doctrinaire rules of the time: Marguerite would be brandished a liar and heretic through the failure of her husband’s muscle rather than through any reasoned parsing of her testimony, and whilst Carrouges himself certainly risks violent and gruesome death in the hunt for satisfaction, still rather pleasant compared to being burned alive. Marguerite doesn’t even learn this until they’ve travelled far too far down this road to turn back, but she successfully maintains a façade of adamant poise in front of the hearing. Carrouges, knowing that Pierre controls the local courts and can therefore ensure Le Gris’ acquittal, as he does, instead petitions the king for the right to trial by combat, which means weathering a hearing presided over by the king and his Parlement including church elders. Le Gris, for his part, turns down the plea by a cleric, Le Coq (Zeljko Ivanek), to take advantage of a loophole that will let the case be heard in an ecclesiastical court instead, nullifying the risk of the combat, insisting that to do so would be tantamount to cowardice and a tacit admission of guilt, which means he is, more subtly, a victim of a similar bind to Marguerite.
At the same time, the contemporary likenesses are hardly disguised as the film’s driving concern is winnowed down to the offence done to Marguerite, an offence that to gain any kind of justice entails risking still worse suffering: the familiar cliché of “he said, she said” trotted out in ambiguous accusations of sexual misconduct played here as a particularly lethal game of chicken. The problems identified in the period are the problems of today when it comes to such matters: Marguerite has the right to have her accusation taken at face value and seriously delved into, but faces the presumption that she’s a pawn, or a harlot, or a conspirator in her husband’s desire to revenge himself on Le Gris, who himself has friends in high places who can stymie any semblance of justice, and so she must submit to questioning tantamount to another form of rape as her sex life is probed. Meanwhile by this stage she’s grown heavy with child, an event that might be the ironically late fulfilment of her marriage contract with Carrouges or the product of Le Gris’ assault. It would be more than a bit rich to call Scott the inventor of Hollywood feminism, but what he did do was create, with Ripley for Alien (1979) and later Thelma and Louise (1991) and G.I Jane (1997), templates for how popular cinema approaches such things. Marguerite is a particularly potent extension of this facet of Scott’s oeuvre, in the way her presence is used to purposefully unpack the kind of warrior mystique Scott served up so ripely in Gladiator. But she’s also something of a critique of that kind of iconography of strong women: Marguerite is at the mercy of the men around her, be they officially protective like Carrouges or predatory like Le Gris, and her attempt to stand up for herself never really escapes this zone. The Last Duel dismantles the idea of the white knight standing up for his abused lady, but it also firmly reminds that the kinds of empowerment fantasies we see in a lot of movies today are just that.
Carrouges’ self-perception laid out in the first chapter is undercut in the second and finally laid totally bare in the last, particularly when his reaction to Marguerite’s rape is revised from calm sympathy to one of raging peevishness, seeing himself wronged before Marguerite and demanding she prostrate herself so he can try and efface Le Gris’ imprint on her. It’s an ugly scene that largely dispels what little sympathy one has for Carrouges by this point. But the film succeeds in being more nuanced than expected on this score: Carrouges’ anxious desire to sexually please his wife whilst knock her up avoids the standard vignette in a lot of recent historical dramas of a brutishly indifferent husband, and even in this scene there’s the feeling this is another of Carrouges’ incoherent emotional expressions, beset by the absurdly provoking notion that he can literally fuck Le Gris’ taint out of his wife’s vagina. Driver has perhaps the most perfectly medieval face to appear in cinema since Ron Perlman with the added advantage of being considered handsome, and he gives perhaps his best performance to date as Le Gris, particularly in his playing of the crucial rape scene(s) where he seems to be acting a little drama to which he’s written the script in his head with scarce reference to reality, a playlet in which he’s the ardent suitor locked in a game of erotic hide-and-seek with a proper but lusty lady, much like the games played in Pierre’s chambers every night. Indeed, Scott films one such game, which culminates in the beginning of an orgy, and then recreates the framing in Le Gris’ version of his attack on Marguerite, suggesting the degree to which his reality is by this point forged by the bubble he lives in.
The shift to Holofcener’s presentation Marguerite’s viewpoint adopts a similar tactic to Affleck’s but with a different frame, ticking off chick flick clichés. Marguerite contends with her haughty and critical mother-in-law Nicole de Carrouges (Harriet Walter) whilst being left alone with her for long stretches of time, and hangs out with her social circle amongst the real castle wives of Normandy like Marie (Tallulah Haddon) as they assess the local male talent, with all agreeing Le Gris scores high in the looks department, casual fun which provides another bitter consequence as Marie later resents Marguerite for her accusation against Le Gris. Marguerite weathers her returned husband’s anger over showing excessive quantities of boob, having adopted the queen’s latest, risqué fashion, and experiences bewildered frustration over her primary function, trying to bear children for Carrouges, with her clueless husband shooting blanks and leaving her resolutely unsatisfied, although in her inexperience she has no way to express this, much in the same way her husband cannot himself articulate his most powerful needs.
More substantively, Marguerite is able to put her intelligence and learning to beguiling use in running Carrouges’ estate and expertly assessing Le Gris’ real character whilst seeming to charm him, a foray that leads her to ultimately agree with her husband that Le Gris is a cunning but facetious personality, but also backfires as she hooks Le Gris’ interest. Comer, hoisted to prominence playing a globetrotting assassin in the TV show Killing Eve, gives a formidable and completely different performance here that immediately and firmly establishes her as a major movie actor. She’s particularly interesting in portraying not just the more spectacular dramatic moments, but in touches like her Marguerite suddenly crying whilst trying to sustain a conversation with Marie, and her slight air of pleased self-approbation as she reports her observations of Le Gris to her husband as they dance and notes the advantages in her way of handling problems. A crucial moment comes late in the film when the Carrouges matriarch confronts Marguerite and accuses her of stirring up dangerous strife to suit herself, and mentions that she herself was raped once when young, a secret she kept for the sake of avoiding more trouble, exposing a vast gap not simply in attitude towards such a crime between her and her daughter-in-law but in their methods of survival, as Marguerite notes the cost such stoicism has inflicted, solving nothing, salving nothing.
Alien Covenant achieved a mode of brilliant self-indulgence for Scott as a garish self-satire, restlessly rearranging and re-enshrining horror and melodrama canards whilst using them as fodder for the theme of a creator moving forward with eternally dissatisfied hunger, inventions both great and flawed left in a billowing wake. The Last Duel encompasses a similar reflex, albeit it more applied, in its triptych of auto-critiquing storylines. As well as allowing Scott to revise and complicate his own popular mythologies, The Last Duel unifies strands of his cinematic reflexes evinced throughout his career. Scott’s exactingly wrought and densely layered visual tableaux have sometimes been purely decorative but in his best work also support his attempts to weave a holistic vision of a created, or recreated, world, in movies as diverse as Blade Runner (1982) and American Gangster (2007). The latter film tried to do something most similar gangster films avoid and show how the criminal enterprise worked from the mastermind to the junkie at the bottom of the food chain, shedding light on the antihero’s wilful blindness to the misery he causes, and The Last Duel exhibits the same top-to-bottom thoroughness. The Martian (2015) was more jocular and light-footed in its similar preoccupation with process, exploring the manifold forces human and cosmic required to save one stranded human being. Blade Runner wove dreamlike visual textures from a rigorously detailed setting, and touched on a similar fascination for the depth of the cinematic frame as a zone where every grain or digit can contain meaning, most particularly in the long sequence of Deckard exploring a photograph for clues in the mystery he was unravelling, a sequence of which The Last Duel can be described as the feature-length extrapolation.
The business of husbandry is codified in a sourly funny and cunningly layered vignette, in which Marguerite looks on in bewildered anxiousness whilst her husband gets furious over a big black stallion breaking into the stall of his in-season white mare and trying to mount her. This potent unit of imagery comes straight out of Shakespeare’s Othello but converted from verbal usage to visual. This image doesn’t just comment on their marriage and the impending act of sexual violence, but delves to the bottom of things, establishing how everything in this world is the attempt to desperately control the power of natural forces over the tentative stability of social structures, a world where dynamic, daemonic urges are scarcely leavened by fear of hellfire or a well-swung mace, and the weak are at the mercy of the strong. More subtle but most vital as a visualisation of theme and character are the three different versions of one kiss, which Carrouges bids Marguerite give Le Gris as part of their ritual of reconciliation. What is for Carrouges a glancing, purely polite gesture is for Le Gris a striking moment of chemistry and for Marguerite a perturbing signal, conveyed through both the actors’ actions and the variation in Scott’s camerawork. Such dramas that eventually finish up consuming a nation’s attention, as well as ultimately threaten three lives, can pivot on such fleeting yet intense moments, infinite realities packed into such junctions of human attitude.
The portrayals of the rape itself, depicted directly in both Le Gris and Marguerite’s chapters, again exemplifies the filmmaking care even in depicting something that isn’t pleasant to watch. Small details tellingly differ – where, say, Le Gris sees Marguerite leaving shoes behind her like a saucy maiden discarding clothing, Marguerite remembers as simply accidental in the course of her flustered fear – and so too does the visual language. Scott holds back for the most part in Le Gris’ version, filming mostly in wide shots that emphasise the physicality of the event, Le Gris as lanky coyote after Marguerite’s darting roadrunner, before concluding with a point-of-view shot of Le Gris looking down at Marguerite’s face in contorted profile. Le Gris’ version of sex is duly pornographic, defined not by connection but by the erasure of need, and his self-created fiction resumes as he makes his apologies and leaves. In Marguerite’s version the shots are more intimate and urgent, climaxing in a long close-up on her shattered expression as Le Gris penetrates her and then leaves her, the storm having visited and then departed like some deeply ugly and surreal dream, reminiscent in a way of the imagery of violation and sudden, sundering ugliness in Alien.
The attack can only be properly avenged in the trial by combat, which means the Carrouges must work tactically, making their friends and social circle unwitting confederates by telling them and using them in the project of forcing the King to pay attention, circumventing Pierre’s control, essentially the medieval edition of a social media campaign. The hearing the King calls eventually sees the parties grilled by legal minds, a sequence that’s used to encompass the most egregious aspects of the period’s approach to things like sex and justice. The young monarch, Charles VI (Alex Lawther), essentially treats the event as a particularly juicy entertainment, whilst the duel itself is a spectator sport that’s also like watching a movie in that everyone has their rooting interest. Scott builds suspense as the film nears the duel as the potential price Marguerite must pay becomes clear, a truth that displaces the tension over Carrouges and Le Gris’ fates onto her, as she stands up to her irate husband with intense and righteous anger but then finds both a source of solace and further worry when she has her child and wonders if the infant will soon be orphaned after such a long effort by the parents to have him. Carrouges meanwhile is left isolated in both his alienation from Marguerite and most of the onlookers who want to see him fall, and Damon does an excellent job in invoking pathos in the character even when that’s not the focal point through his stolid, chastened affect as the moment of confrontation with mortality looms.
The duel, when finally returned to, represents an apotheosis for Scott in terms of sheer moviemaking craft, capturing with concussive immediacy both the awful violence of the fighters and the nightmarish state of watching it with the certainty that life and death acted out on the sand is also one’s own fate being settled. The cinematography by Dariusz Wolski, with its stern, frigid, muted grey-blue palette only swapped out for the honeyed glow of candlelit interiors, mostly rejects the penchant for beauty found in Scott’s other historical films, and here become furious and alive in a way that feels as cutting-edge as anything Scott’s ever shot – beautifully dashing tracking shots cleaved brutally with inserts of mounted camerawork pursuing the duellists into the joust. Thunderous editing of both images and sound helping lend you-are-there palpability to the shattering lances spraying splinters, horses colliding with walls, and cold steel blades sinking into soft warm flesh, and none of it seems to be augmented with special effects, a particular blessing in this accursed moment in action filmmaking. Every blow and movement communicates physical effort and cost. What it isn’t is a cheer-along struggle of good and evil, even as Scott finally allows Carrouges to become what he wanted to think of himself as, the plucky, honourable underdog with a righteous cause, as he faces not just Le Gris’ unexpected fearsomeness in the fight but the general disdain of the aristocrats in the crowd, including Pierre, who want their charming favourite to win.
The fight comes to its terrible, gruesome end as Carrouges manages to outwit Le Gris and tries to force him to confess, before showing his dagger into the man’s mouth, a bloody and awfully intimate mirror to his assault on Marguerite. Carrouges, still faintly hapless even after proving himself awesomely tough as he needs the king’s cue to face and embrace his released wife, now exhibits sufficient poise to offer Marguerite to the crowd for exaltation as well, before leading her to an under-construction Notre Dame, whilst Le Gris’ corpse is hung up naked and pathetic. Even Pierre is offered a moment of pathos as he’s left clearly mourning his friend. Carrouges fails at being a hero but finally triumphs in offering the crowd a better story, of a knight who has vindicated his wife. Scott nonetheless suggests the awful, lingering bleakness under the relief nonetheless as he cuts out the noise of the cheering mob and has only the sound of Marguerite’s strained breathing on the soundtrack as she rides in slow motion. A brief coda does give a modest dose of reassurance as Marguerite is glimpsed as a happy mother whilst Carrouges has gone off to get himself killed in the Crusades. But it’s with that image of Marguerite after the duel where the film should have ended, with that feeling that won’t go away, like standing on the beach with a colossal wave about to crash down upon you.