The Last Duel (2021)
Directed by Ridley Scott
King Charles VI declares that Knight Jean de Carrouges settle his dispute with his squire, Jacques Le Gris, by challenging him to a duel.
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73 films that influenced The Last Duel
What critics say influenced The Last Duel
…using what film buffs would call a Rashomon structure, named after the Japanese film best known for the now-familiar device of replaying the same events from different perspectives.
Ese cartel es, definitivamente, lo contrario a Rashomon.
…by employing a Rashomon-inspired approach to developing the narrative…
While Jager’s book leaves no ambiguity about what befell Marguerite de Carrouges, the film takes a Rashômon–style consideration.
…the film follows a Rashomon/The Handmaiden look at a single event, the rape of Marguerite de Carrouges (Comer) by accused attacker Jacques Le Gris (Driver)…
The Last Duel takes the Rashomon route of telling the story from three different points of view…
I remember the rush of the Germania battle sequence in the opening scene of Gladiator, with the horses galloping and soldiers clashing into each other on muddy grounds with swords/axes clanging.
The marketing presents The Last Duel as a sweeping, epic story perhaps akin to Gladiator, easily for me Scott’s best film in the last 20 years.
The Last Duel is at its best when Scott fully leans into the arena spectacle that skyrocketed his 2000 Oscar-winning cornucopia Gladiator to the open arms of crowds and critics alike.
If you like this, try: “Gladiator”…
The Last Duel is the anti-Gladiator.
His latest fits snugly in his filmography alongside "Gladiator," "Kingdom of Heaven," and 2010's underappreciated "Robin Hood"…
Scott is returning the sense of honor among warriors and designated battles to the death that made his debut film, “The Duellists” (1977) so riveting.
Ridley Scott’s debut feature was The Duellists, a remarkable film that put the ad-man into the box seat when it comes to Hollywood…
It’s not his last film, but there would be a certain enjoyable symmetry in his feature-making career beginning with 1977’s The Duellists and ending with The Last Duel.
Scott’s first feature was “The Duellists” (1977), a fine film that’s little remembered because Scott’s next feature was something called “Alien” (1979).
Revisiting the topic of honor by judicial duel offered in The Duellists (1977) - his debut feature…
Scott likes to highlight the hand-to-hand combat in which humans engage, starting back with his debut, The Duelists.
…or the over-the-top focus on gore of Game of Thrones…
Much like Game of Thrones, the rape in The Last Duel, the core story point, is centered on the men.
Game of Thrones watchers will no doubt recall the trial by combat wherein Tyrion elected the Red Viper to square off against the hulking Mountain as a last ditch effort to prove his innocence.
There’s even some softcore lesbian trysting going on in the background to keep the Game of Thrones fans happy.
At times, it’s like watching “A Man for All Seasons” meets “Game of Thrones” with a soupçon of Monty Python.
“¡Exijo un juicio por combate!” Ese apasionado grito dado por Peter Dinklage en Game of Thrones se convirtió rápidamente en un meme del internet, luego que su Tyrion Lannister entendiera que no tendría justicia por la vía regular.
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Also, since “The Last Duel” is largely a drama about rape and the despicable way men and society at large blame the victim, it also taps into the themes in Scott’s now-30-years-old “Thelma & Louise.”
More accurately the film The Last Duel feels connected with his is Thelma & Louise, which was about the friendship of two women, one raped, the other wielding the hand of justice, while surrounded by a cavalcade of men that display the various characteristics that make us the lesser sex.
Blending his lavish but gritty historical epics like Gladiator or Kingdom of Heaven with the sorta-high-concept pop feminism of G.I. Jane or Thelma & Louise, Ridley Scott’s The Last Duel manages to be an excellent synthesis of his stylistic and narrative tics, with rousing action beats peppered throughout period drama that’s tinged with modern sensibilities and bleak humor.
While Thelma and Louise brought visual splendour to Callie Khouri’s Oscar-winning script about two women finding a road of their own in the wake of sexual assault, The Last Duel instead gets bogged down in the mud and blood of its period milieu…
Combine "Gladiator" with "Thelma & Louise" and you’ve got a sense of Ridley Scott’s new medieval epic "The Last Duel."
It also brings Scott back to Thelma and Louise, a road movie that also pivots on rape, sending two women on the run from the authorities—and, by implication, from the world of violent, domineering men.
Scott films the duel with frank violence, not unlike Black Hawk Down and Kingdom of Heaven, and audience bloodlust is more palpable because of how Marguerite’s desperation informs the action.
…if this film represents Scott making amends for the theatrical release of Kingdom of Heaven – an uncompromising period epic where sexism, politics, and proto-capitalism combine to soak medieval battlefields in blood…
His latest fits snugly in his filmography alongside "Gladiator," "Kingdom of Heaven," and 2010's underappreciated "Robin Hood"…
Blending his lavish but gritty historical epics like Gladiator or Kingdom of Heaven with the sorta-high-concept pop feminism of G.I. Jane or Thelma & Louise, Ridley Scott’s The Last Duel manages to be an excellent synthesis of his stylistic and narrative tics, with rousing action beats peppered throughout period drama that’s tinged with modern sensibilities and bleak humor.
…when it isn’t paired with, say, the dynamism of something like the fiery Jerusalem of Kingdom of Heaven…
The cold clang of weapons rings through films as varied Gladiator, Legend, Kingdom of Heaven, Robin Hood, and Exodus: Gods and Kings.
…getting the tone exactly right, something that's especially crucial when the spectre of Monty Python and the Holy Grail looms large in every scene (it's full of French taunters, for example)…
Alehouses ring to the clatter of tankards while Pythonesque minstrels lurk in the shadows.
As for the last duel itself, it is so extended it does put you in mind of Monty Python and the Holy Grail. (‘’Tis but a scratch.’ ‘A scratch? Your arm’s off!’)
The looks of the movie resembles to Scott’s 2010 Robin Hood with the steel gray tones that evokes a moody, atmospheric but also downright miserable feeling.
His latest fits snugly in his filmography alongside "Gladiator," "Kingdom of Heaven," and 2010's underappreciated "Robin Hood" (I'll happily die on the hill defending that one).
The cold clang of weapons rings through films as varied Gladiator, Legend, Kingdom of Heaven, Robin Hood, and Exodus: Gods and Kings.
Shot digitally, it looks less composed than Robin Hood, which at least had the benefit of the texture of film grain…
Both Robin Hood and Exodus: Gods and Kings presented the same immersive scale without developing a substantive core to invest in.
Ridley Scott loves his historical dramas: from Gladiator to Kingdom of Heaven, to even his stony faced Robin Hood…
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It’s basically “Rashomon” meets “The Nightingale,” with a dash of “Chimes at Midnight” thrown in for good measure.
For decades, the gold standard for gory, accurate recreations of Medieval hand-to-hand combat have been Orson Welles’ “Chimes at Midnight,” which inspired Mel Gibson’s even more brutal and bloodier “Braveheart,” and Akira Kurosawa’s “Ran.”
The Last Duel shares more DNA with movies like Gone Girl or The Handmaiden than it does with films like Braveheart, Gladiator, or Troy.
…the film follows a Rashomon/The Handmaiden look at a single event, the rape of Marguerite de Carrouges (Comer) by accused attacker Jacques Le Gris (Driver)…
…an exquisite The Handmaiden-like script that shows a series of tragic events told from three different perspectives…