A game that takes place in the future where two people battle for honour and bragging rights. This is not a jousting tournament, but rather an honour duel.
The jousting tournament 2021 is a new game that is being released on the Xbox One. It will be a multiplayer experience where players can duel with their friends and other people from around the world.
REVIEW – No matter how bad things have gone in your life, you’re lucky you’re not a lady living in the 14th century. Despite the fact that we’re talking about a noblewoman, Jodie Comer’s Marguerite de Carrouges had a hard time in The Last Duel, a film about many things – love, battle, the follies of medieval French law – but mainly male pride.
The Last Duel transports us to a bleak period in French history. In this tale of a violent, deadly battle, director Ridley Scott creates a striking picture of his multifaceted heroes and anti-heroes. The dismal narrative and oppressively dark tone of the film, which is based on real events, portrays one woman’s fight for justice – set against the hollow words of purported honour, duty, and “chivalry.” But it’s the manner it shows events from three viewpoints that makes this picture really thrilling and unique…
Revenge for defaming a lady…
France in the fourteenth century may be a harsh and unfriendly place, particularly for a woman. This is especially true when a woman, like Marguerite de Carrouges, accuses a man of rape. The Last Duel begins with the climactic last duel, despite the fact that most of the narrative revolves on the circumstances building up to it and the horrible crime itself taking place in a medieval court.
You may assume we’re witnessing a typical jousting contest, but knights Jean de Carrouges (Matt Damon) and Jacques LeGris (Adam Driver) are preparing for a fatal battle. Jacques is accused of rapping his former friend’s wife in the sake of honour. So far, it seems to be a straightforward vengeance tale, but Ridley Scott’s picture is everything from straightforward…
Three perspectives on the truth
We are brought back to the beginning of the tale, where we are given the essence of the events in many chapters, after a short but horrific sight of the deadly fight that is going to take place. The film’s most intriguing aspect is that we see the same narrative again and over again, broken down into separate testimonials. The truth of Jean de Carrouges is revealed first, followed by that of the accused, Jacques LeGris. Finally, none other than Jacques’s victim, Marguerite de Carrouges, reveals the whole truth. That is, if we can trust him, since the entire “truth” cannot exist; there are just various views and traumas experienced – Scott is deft enough to avoid being didactic in his picture.
This method of telling the story may appear heavy-handed at first, but it is extremely effective, cleverly demonstrating the unreliability of each character’s version of events as they distort and twist events to suit their own purposes – even if they rarely lie about the specific facts – through nuanced differences. This is also a painful study of Jean and Jacques since it reveals their unique character faults.
Various “perspectives”
The account of the two main characters, Jean and Jacques, varies in just one detail: each man claims to have rescued the life of the other in an epic, overpowering fight. Both clearly want to be portrayed as heroes in their own tales, reveling in the glory of heroics and emulating the real meaning of honor and chivalry. That is, at least, how they perceive themselves.
Soon, even more chasms appear between the two men’s accounts of events. Jean recounts a real love tale about a fortuitous encounter with Marguerite that leads to a beautiful emotional marriage filled with daily life and sexual intercourse, interrupted only by the terrible events of the outside world.
Meanwhile, Jacques portrays the pair in a completely different light. Jean is portrayed in his tale as a cold, unfeeling guy who has no affection for his wife. Jacques, on the other hand, claims that he is the one who really loves Marguerite… and claims to be in the same boat.
In their respective interpretations, Comer, Damon, and Driver portray these inconsistencies to perfection. The true trick in this film is how the events of the narrative vary from one version to the next with just little changes – but it is these minor differences that are the most significant in the plot and the film’s acid and pepper.
There are a few instances when there aren’t two distinct versions…
When Jacques recounts his tale, the blatant flirting between Jean and Marguerite transforms into a “weird pair.” And, although there is obvious chemistry between Comer and Driver – particularly in Jacques’ version – by the time Marguerite recounts her tale, it has devolved into a brutal, terrible portrayal of rape.
Scott isn’t afraid to talk about rape’s brutality and horror. Instead, we’re forced to face the truth of Marguerite’s entire confession, which is unsettling to see.
It’s also worth noting that although the rape is obviously rape in all three tales, Jacques deludes himself into believing that Marguerite has given herself freely, her behavior simply the “normal protest” of a married woman who has fallen in love with another man but must still play the part of a man. Perhaps Scott might have modified the events portrayed in this scene more to Jacques’ point of view, but it’s likely that he didn’t dare to do so, especially in the wake of the current #metoo movement, thus the violence in both versions is essentially the same. It’s a pity about this ‘humbling,’ since the film’s otherwise well-constructed logical structure has a weakness here.
“There is no justice in this place.” Men’s strength is the only thing that exists.” (Mother of Jean)
That’s basically what The Last Duel is about: two guys debating the validity of a woman’s rape accusations. It’s a gritty, no-holds-barred tale that has nothing to do with beautiful chivalry tales. Forget about Ivanhoe, Robin Hood, and King Arthur; this is a reminder of the struggles that many women still endure today.
The gloomy location adds to the gravity of the tale. Scott creates a gloomy, almost claustrophobic mood with a palette of muted greys and stone castle walls. In nearly every scene, you can sense the weight of the film’s universe.
Shapes that dazzle
Matt Damon, a rather basic, uneducated, and impoverished aristocrat who believes of himself as a real avenging hero, frequently behaves horribly foolishly and deludes himself about his wife, is one of the three major protagonists in this harsh triangle. Damon is fantastic as this guy, who, despite his basic outlook, is very complicated.
On the other hand, Adam Driver is fantastic as the educated, intelligent, multilingual, and beautiful aristocrat who, in the heat of battle, tries to be loyal to his buddy but can’t resist his blood and Marguerite’s beauty, and what he does is really disgusting and horrible. He is neither white nor black, but rather a nuanced character.
Marguerite de Carrouges, played by Jodie Comer, is the true heroine of the film; we empathize with her the most, and Comer depicts the many facets of her character and her frantic search for justice and life with great skill.
Finally, Ben Affleck’s outstanding portrayal as the quirky (and utterly wicked) Count Pierre d’Alençon must be mentioned. He’s a genuinely wicked Count – a self-described ‘libertine’ – whose bedroom shenanigans, sometimes hilariously immoral behavior, and cursing lighten the film’s often too somber tone. In the character, Affleck is a consummate professional.
This isn’t a story about a knight.
The Last Duel is a masterwork of patient storytelling, with three separate chapters enabling the intricate narrative to develop organically. Ridley Scott is able to break down the protagonists’ favorable self-images into atoms and test them by repeating the narrative from various points of view.
-BadSector-
REVIEW – No matter how bad things have gone in your life, you’re lucky you’re not a lady living in the 14th century. Despite the fact that we’re talking about a noblewoman, Jodie Comer’s Marguerite de Carrouges had a hard time in The Last Duel, a picture about many things – love, battle, the follies of medieval French law – but mainly male pride. The Last Duel transports us to a bleak period in French history. In this tale of a violent, deadly battle, director Ridley Scott creates a striking picture of his complicated heroes and anti-heroes….
This Isn’t A Jousting Tournament; It’s All About Honour In The Last Duel
This Isn’t A Jousting Tournament; It’s All About Honour In The Last Duel
2021-10-12
Gergely Herpai (BadSector)
The Last Duel is a masterwork of patient storytelling, with three separate chapters enabling the intricate narrative to develop organically. Ridley Scott is able to break down the protagonists’ favorable self-images into atoms and test them by repeating the narrative from various points of view.
8.5 in the direction
9.2 for acting
8.2 for the story
8.6 Visulas/Actions
8.5 for atmosphere
8.6
EXCELLENT
The Last Duel is a masterwork of patient storytelling, with three separate chapters enabling the intricate narrative to develop organically. Ridley Scott is able to break down the protagonists’ favorable self-images into atoms and test them by repeating the narrative from various points of view.
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The medieval jousting tournaments is a game that takes place in the medieval times. It’s all about honour and glory, not just winning or losing.
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