Tag: medieval

THE LAST DUEL (2021) – Review

Matt Damon as Jean de Carrouges and Adam Driver as Jacques LeGris in 20th Century Studios’ THE LAST DUEL. Photo by Patrick Redmond. © 2021 20th Century Studios. All Rights Reserved.

Now, here’s some “end of the year” old-school Hollywood spectacle-blockbuster “award fodder”. It takes place over 600 years ago, a true-life medieval tale set in “days of old, when knights were bold”. And it turns out those armored warriors were a lot like folks today (as Us magazine loves to say, “Stars, they’re just like us”…sure). There are issues at the heart of this story that still resonate, even dominating the current debates and elections. Yes, this has lots of swordplay, but inflated egos fuel the flames of deadly combat. And the end result is helmed by a director known for historical epics like GLADIATOR (hey, his first film way back in 1977 was THE DUELLISTS), though many forget they he also was behind the camera on THELMA AND LOUISE. Add a trio of screenwriters which includes actors, directors, and producers and you’ve got a most interesting mix for the epic yet intimate THE LAST DUEL.

The “inspired by true events” tale begins in late 1300s France, mere moments before the big showdown between Sir Jean de Carrouges (Matt Damon) and Jacques de Gris (Adam Driver). As their aides assist them in donning their battle amour, countless spectators, including the royalty, line the long jousting field, as hundreds crowd around, many climbing the walls, of the massive venue. The scene shifts abruptly as the title chapter heading takes us back several years for Sir Jean’s version of the lead-up to this day. He and Jacques once fought side by side on the battlefield, pledging their loyalty and service to a member of the court of King Charles VI, Count Pierre (Ben Affleck). Later Jean returns to his family home, a castle crushed by weighty debts. He gets a visit from Jacques, who is now a tax collector for Pierre, and is warned of the hefty amount owed in back taxes. This reminds Jean that he has no heirs as his wife and only son passed away years ago. A visit to the disgraced Tribouville estate (Sir Robert had collaborated with enemies of the crown) prompts Jean to inquire about the family’s lovely single daughter, Marguerite (Jodie Comer). Eager to erase his tarnished name, Robert agrees to Jean’s marriage proposal and provides several prime pieces of land as a dowry. But it’s not long after the wedding that Jacques claims some of the property in lieu of back taxes. This drives a wedge between the old friends, as Jean even files a lawsuit. When that fails, Jean tries to mend fences by attending a festival in honor of Count Pierre. It’s there that Jacques meets and becomes somewhat smitten with Marguerite. His ardor leads to the incident that instigates their “fight to the death”. The film has two other chapter titles, with the events told from the perspective of both Jacques and Marguerite before the fateful clash of honor between the two former friends.

The power of the film is greatly bolstered by the talented cast of screen vets and a very promising newcomer. Regarding the actors, it may be best to start with the duo at the center of the title duel. Damon is quite compelling as the brusque, often boastful knight Jean, proudly trimming his beard to accent his jagged facial battle scar. He thinks of himself as a noble warrior for his country, though his plans for glory are hindered by his ego that’s paired with an obstinant streak. Away from battle, he rules his castle with an iron glove, showing little passion for his bride outside of the bed chambers (which is his own battlefield of thwarted procreation). As his BFF turned foe, Driver as Jacque is also a fearsome fighter, though he’s more dangerous out of the armor. He juggles many plots and schemes as he presents a different face to everyone. Driver gets a chance to display his comic skills as he joins the royal court debauchery with zeal while insulting all that dare to join him. And Driver certainly returns to “the dark side” in the different views of the “incident”. That scene is compelling and horrific thanks to the splendid performance by the aforementioned newcomer (a critical favorite in the lead on TV with “Killing Eve”, she made the leap to the movies with the very recent FREE GUY) Comer. She’s neither wilted victim nor “damsel in distress” as Marguerite, but rather a woman rebelling against the norms of the age. After enduring a passion-free marriage, her spirit is energized by the chance to manage the estate (she enjoys doing the books and getting her hands dirty). When the”event’ occurs she’s determined to stand up to those who would consider her “property”. Though she watches from the sidelines, Comer’s eyes and body language tell us that she’s right there in the thick of the fight. And though we see little of him in the “Jean chapter”, Affleck shines in one the year’s great supporting performances as the endearingly arrogant and lecherous Pierre. He steals nearly all of his scenes, whether reading prose to a belittled pack of dinner guests or as he tops off the evening with a naked multi-partnered bedroom romp (while his very pregnant wife sleeps next door). With his blonde hair, Affleck is the campiest “Queen B”. Rounding out the cast is Harriet Walter as the toxic mother-in-law of Marguerite.

Yes, this is the latest work from veteran filmmaker Ridley Scott (he’s now in his fifth decade behind the camera), who teams again with Damon (THE MARTIAN) for a riveting big screen (really try and catch it on the biggest one possible) entertainment with a most contemporary message (don’t be put off, thinking it’s too “woke”). Of course he’s got an excellent “map’ in the form of the screenplay adaptation (from the book by Eric Jager) by Damon, Affleck (their first collaboration since the Oscar-winning GOOD WILL HUNTING), and Nicole Holofcener (celebrated writer/director of ENOUGH SAID). It was a wise move to get such a team since the film hinges on three distinct interpretations of the “insult”. It’s amazing that a 1300s story can relate so well to the current climate, as middle-aged and elderly (often white) men make ludicrous declarations concerning the female reproductive system. Plus we get to see exchanges through the eyes of a “predator” who can’t fathom the idea of rejection from a woman. It’s incisive and smart, while never insisting that either of the duellists is wholly good (one is perhaps greatly delusional). We’re getting a lot more than a “gritter” take on the kings and knights epic. Oh but, the duel itself is more than worth the build-up, making us wince in pain as we try to avert our eyes (it’s not just about knocking you off your steed) to the brutality. Every artist excels in recreating the time period, from make-up to art direction to costume design. Plus the story really comes to life thanks to the subtle scoring of Harry Gregson-Williams, the cinematography of Darlusz Wolski, and the superb editing of Claire Simpson. Everything and everyone truly works at the top of their skills to make the medieval but very relevant THE LAST DUEL one of this year’s best films.

4 Out 4

THE LAST DUEL is now playing in theatres everywhere

Ben Foster Set To Star In MEDIEVAL

J.B.J Film and Elevated Films announced today that acclaimed actor Ben Foster has been cast as the lead in director Petr Jákl’s historical action drama MEDIEVAL. Jákl wrote the screenplay and will produce alongside Cassian Elwes. The film will be produced with the support of private investors and many Czech state institutions and regions, including the Czech Film Fund, the Prague Film Fund, Creative Europe – Media and others. Principal photography is scheduled to begin this fall in Prague and the surrounding Czech countryside.

The film is inspired by the origin story of the legendary 14th century warlord Jan Zizka of Trocnov (Foster), who along with his band of mercenaries became entangled with an heiress and battled a rival King in a struggle for equality for the Czech people.

Foster is best known for his roles in HELL OR HIGH WATER, 3:10 TO YUMA, THE MESSENGER and ALPHA DOG. He can be seen in the acclaimed film LEAVE NO TRACE earning him rave reviews.

“I actually loved this script and loved Petr’s first two movies. I think he‘s going to do a fantastic job on this film. And I couldn‘t be more excited to work with Ben Foster again, after my experience with him on Ain‘t Them Bodies Saints. He‘s one of the greatest young actors working right now,” said Elwes.

Additional support includes the Middle Bohemia Region; the Capital city of Prague and the President of the Senate of Parliament of the Czech Republic.

Mandatory Credit: Photo by Chelsea Lauren/Deadline/REX/Shutterstock
Ben Foster

Ben Foster is an actor well-known to audiences for two decades of notable dramatic portrayals. In 2017, he won an Independent Spirit Award, also earning him a Critics Choice nomination for his performance opposite Chris Pine and Jeff Bridges in Hell or High Water, written by Taylor Sheridan and directed by David Mackenzie; the film was nominated for four Academy Awards including Best Picture.

He can currently be seen in Debra Granik’s drama Leave No Trace. The film premiered at the Sundance Film Festival and was released by Bleeker Street. The film tells the story of a father (Foster) suffering from PTSD, raising his daughter off the grid. The Atlantic calls his performance” career-best work from Foster”, “Exceptional” by the LA TIMES,

He was last seen on stage starred in Benedict Andrews’ staging of Tennessee Williams’ classic A Streetcar Named Desire, opposite Gillian Anderson and Vanessa Kirby, at St. Ann’s Warehouse in Brooklyn; the production originated at London’s Young Vic Theatre. He had previously made his Broadway debut in a revival of Lyle Kessler’s Orphans, opposite Alec Baldwin and Tom Sturridge, directed by Daniel Sullivan.

Mr. Foster made his film debut starring in the lead role of Barry Levinson’s 1950s-set Liberty Heights. Since then, his movies have included James Mangold’s hit Western 3:10 to Yuma, for which he shared with the ensemble a Screen Actors Guild Award nomination for Outstanding Performance by a Cast in a Motion Picture; Nick Cassavetes’ Alpha Dog; Braden King’s Here; Fernando Meirelles’ 360; Baltasar Kormákur’s Contraband; David Lowery’s Ain’t Them Bodies Saints; John Krokidas’ Kill Your Darlings, in which he portrayed poet William Burroughs; Peter Berg’s Lone Survivor; Craig Gillespie’s The Finest Hours; Ron Howard’s Inferno; Scott Cooper’s Hostiles; and Stephen Frears’ The Program, in which he starred as Lance Armstrong. He starred opposite Woody Harrelson in Oren Moverman’s The Messenger and reunited with the duo for Rampart, on which Mr. Foster stepped into a new role, as producer.

He memorably recurred on the classic television series Six Feet Under, sharing with his fellow actors a Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series. Mr. Foster won a Daytime Emmy Award for his performance in the drama about teen bullying, Bang Bang You’re Dead, directed by Guy Ferland and scripted by William Mastrosimone.

He will next be seen starring on-screen in Mélanie Laurent’s Galveston, opposite Elle Fanning, which world-premiered at the 2018 SXSW Film Festival.

Top Ten Tuesday: Sensational Sword Fights

Ridley Scott’s newest epic, his own take on ROBIN HOOD starring Russell Crowe, opens in theaters Friday, May 14. While the classical lore of Robin Hood has him stealing from rich to give to the poor… the trailer suggests Scott has turned the Robin Hood tale into one helluva GLADIATOR-sized period action flick complete with sword fights. So, anticipating quite an awe-inspiring onscreen display of steel blade clashing, we’ve compiled our top ten list of the best sword fights captured on film.

Reader’s Choice: THE PRINCESS BRIDE – In an effort to show we value our reader’s opinions, we’ve included a Reader’s Choice selection this week.

In response to the overwhelming reaction to this film somehow shamefully slipping through the fingers of the Movie Geeks on this week’s Top Ten Tuesday, THE PRINCESS BRIDE has been added as a Reader’s Choice pick. The film is a favorite of virtually all movie geeks and the sword fight between the Dread Pirate Roberts (Cary Elwes) and Inigo Montoya (Mandy Patinkin) is not only fun but very well staged. The duel is exciting, smart and witty, embedding itself into our minds among many memorable scenes from this modern classic.

Honorable Mention: STAR WARS, EP. V – THE EMPIRE STRIKES BACK

While some of you hardcore purists may scoff at this honorary selection, STAR WARS fans and the less-strict cinematic philosophers will surely consider the epic light saber battle between the Jedi Luke Skywalker and his soon-to-be-revealed father Darth Vader one of the most exhilarating and intensely dramatic “sword” fights of movie history. The emotion, the clashing of dark and light, the young versus the old, the variation of styles and discipline… all the makings of a brilliant duel are there. Who cares if the weapons are sticks of glowing light instead of cold, hard steel… when you think about it, its a nice change of pace.

10. CAPTAIN BLOOD (1935)

Billed as THE MOST MAGNIFICENT & THRILLING SEA ADVENTURE EVER FILMED, 1935’s CAPTAIN BLOOD was the movie that catapulted Errol Flynn to the ranks of Hollywood Star. Along with the dazzling sea-battles, director Michael Curtiz rousing tale of imprisoned doctor, Peter Blood, turned slave and then pirate is an exhilarating swashbuckling film. Captain Blood and his crew of fellow slaves become buccaneers, commandeer a ship, and go onto protect the Caribbean from Spanish galleons. The hero does find time, while plundering the seas, to fall in love with the beautiful Arabella Bishop (Olivia de Havilland). It was the first time that the movie-going audiences would see a sword fight between Errol Flynn’s Blood and Basil Rathbone’s Levasseur. The ensuing duel on the beach between the English pirate and French pirate is the epitome of brilliant choreography in footwork and timing, all accompanied by the melodramatic music of composer Erich Wolfgang Korngold. After the final, piercing death blow, no one could die better than Rathbone, as was later seen in THE ADVENTURES OF ROBIN HOOD.

09. HERO (2002)

Before we even get into it, clearly there are those who do not subscribe to the fantastical Asian wire-work style of storytelling. All I have to say to that is… “to each their own.” I won’t go into how this is a cultural storytelling style that is used primarily in films dealing with myths and legends, stories of incredible feats and heroes. Thus, a period film called HERO about one of a culture’s most famed and beloved warriors who single-handily defeated three assassins bent on murdering the most powerful warlord of pre-unified China. His actions were pure of intent and focused on protecting his leader at all costs. He acted on principle, with honor. Jet Li’s performance was stellar in this beautifully shot and carefully crafted story. HERO combines amazing fight and wire choreography with a powerful story, containing amongst other treats one of the coolest semi-sword fighting duels in martial arts film history between jet Li and Donnie Yen.

08. BRAVEHEART

The battle scenes in Mel Gibson’s Academy Award winning epic are pretty much the heart of this movie, thus its place on this list. However the “sword fighting” in this movie is not your classic, refined, and dignified “fencing” that you see in say, Captain Blood or Pirates of the Caribbean. The weapons here are huge, sharp, heavy, take-your-head-off-with-one-swing Louisville Sluggers – very different than the shiny, pretty, clink-together silver of traditional fencing. The type of hand-to-hand combat in Braveheart showed a grim reality of sword fighting, and it ain’t pretty. Even if you survive, you end up covered in the blood and guts of your enemy. Again, one of the things that made this movie so good was the realism of battle. It’s bloody, its gory and its exhausting!

07. GLADIATOR

Are you not entertained?!?! That line became the rallying cry this time ten years ago when Ridley Scott and Russell Crowe teamed up for the first time. What an awesome collaboration it was, too. GLADIATOR trampled its way into theaters, keeping so many of us on the edges of our seats with its harrowing action scenes and gripping moments of drama. It was a film that made a star of Crowe, who was just beginning his growth in the film world, and it was a film that solidified Scott once again as a director not to be underestimated. For the few years before, Scott had been taking it easy in the directing world having not had a film out since 1997’s GI JANE. However, with the opening battle sequence of GLADIATOR, we knew the man who had brought us ALIEN and BLADE RUNNER was back with a fury, and the second leg of the talented director’s career had begun. GLADIATOR is a film about spectacle, both in that it honors the gladiatorial events of history and it draws on them with an unrivaled intensity. When Crowe cried out his pivotal line, we sat up, nodded our heads, and locked our eyes on screen. We were entertained.

06. SHOGUN ASSASSIN

SHOGUN ASSASSIN is a film that was created in 1980 to bring the six part Japanese LONE WOLF AND CUB saga, about an executioner framed for treason on the road to revenge with his toddler son, to American audiences who didn’t have access to the original films. The first two Lone Wolf films were re-edited to 86 minutes, re-scored and dubbed into English by Roger Corman’s New World pictures and the result was the eye-popping SHOGUN ASSASSIN. Narration was provided by 5-year old Cub, an unintentionally humorous device perhaps necessary to follow the movie’s many plot points. The dubbing was even worse than the Kung-Fu movies from the 70’s (at times characters are talking when their lips aren’t even moving) but it’s the comic-strip savagery of the swordplay that American viewers were unprepared for. Fountains of blood spurt like a hose from decapitations, severed body parts, cleaved heads, sliced necks, and cut limbs. The original LONE WOLF AND CUB films are accessible now but it’s this wacky re-edit that’s more likely to appeal to fans that like things fast and furious.

05. PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL

2002. I remember it like it was yesterday. I remember hearing about Disney’s plans to turn their popular Pirates of the Caribbean ride into a feature film. I remember thinking this was the worst idea I had ever heard. Boy, was I wrong. Once July 9th, 2003 rolled around, many of us were left holding our tongues, as the swashbuckling adventure Gore Verbinski, Jerry Bruckheimer and crew unfolded before us was epic, engaging, but, most importantly, it was a whole lot of fun. With an eccentric Johnny Depp and an honorable straight-man in Orlando Bloom leading the charge, PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL quickly became a phenomenon and deservedly so. While the sword fighting carries throughout the rest of the trilogy (who can ever forget the amazing fight on the rolling mill wheel?), it was this first adventure that brought it all to light for many of us. The first PIRATES OF THE CARIBBEAN film is truly an adventure for the whole family, and one that proved to all of us that Disney knows precisely what they are doing when it comes to these decisions.

04. ROB ROY (1995)

While HIGHLANDER didn’t make our list, we do have another film representing the Scotts… ROB ROY tells the tale of a man in 1700’s Scottish Highlands trying to make a better life for his small village, but when the money he borrowed to carry out his good deeds is stolen he finds himself forced into a Robin hood type of life by way of his principles and the need to protect his family. Liam Neeson delivers an outstanding performance as Robert Roy MacGregor, the title character, while Tim Roth is equally effective as his very unlikable nemesis Archibald Cunningham, with whom Rob Roy duels without quarter later in the film. This duel more than anything, is what set ROB ROY apart and landed it on this list. Suspenseful, dramatic and very well choreographed, this showdown of two men –very different in class, training and personality– creates a gripping scene of good versus evil. ROB ROY also features great performances from Jessica Lange, John Hurt, Brian Cox and Eric Stoltz.

03. 300

When it comes to movies specifically designed to showcase the extremes of artistically glorified violence, 300 is the first movie that comes to mind, especially if we’re talking old school swords and shields. Zack Snyder’s motion picture interpretation of Frank Miller’s graphic novel is just that… graphic. No drop of blood is wasted, no gore is spared, no ab is left un(air)brushed. From beginning to end, 300 shows off what fight choreography can look like with combined with modern FX technology, adding an entirely new depth of sword-slashing, butt-kicking cinematic battles of the ancient times that weren’t possible from the sword and sandal flicks of the 50’s and 60’s or the swashbuckler flicks from Errol Flynn.

02. THE ADVENTURES OF ROBIN HOOD (1938)

Longbows, continual sword fights, and archery tournaments are some of the marvelous colors painted throughout the canvas of director Michael Curtiz’s THE ADVENTURES OF ROBIN HOOD. Who can forget, “Welcome to Sherwood, my lady. What Sir Guy, no greeting from you?” The dramatic entrance and line by Robin of Locksley (Errol Flynn) is, to this day, still unrivaled. The 1938 action film is further enhanced by the rich score of Oscar-winner Erich Wolfgang Korngold. One of the best in all filmdom, it’s #11 on AFI’s 100 Years of Film Scores list. The exciting sword fights between the Merry Men of Sherwood Forest and the Sheriff of Nottingham and his knights are made more colorful by the Academy Award winning editing of Ralph Dawson. Just as Flynn’s Robin Hood embodies the hero’s modus operandi of “stealing from the rich to give to the poor”, so does Claude Rains portrayal of the smarmy, villainous Prince John and his oppression of the Saxon people. Curtiz and cinematographers Tony Gaudio and Sol Polito’s thrilling use of shadows can be seen during the infamous and lengthy duel of Sir Guy of Gisbourne (Basil Rathbone) and Robin Hood emblazoned on the walls of the castle during the final act. For a film that epitomizes whirling sword fights all for the love of king and country look no further than THE ADVENTURES OF ROBIN HOOD.

01. THE THREE MUSKETEERS (1973)

Director Richard Lester romped through Alexander Dumas’ novel in 1973 and came up with a hugely entertaining swashbuckler that was both revival and send up. No expense was spared, and THE THREE MUSKETEERS was a visually extravagant film with fabulous costumes and an A-list cast including Michael York, Richard Chamberlain, Oliver Reed, Fay Dunaway, and Charlton Heston. Everyone I’ve known with an interest in the sport of fencing invariably cites this version of THE THREE MUSKETEERS as home to their favorite sword-fighting sequences and there are many, quite different in scope and choreography, from a thrilling two-man battle in nighttime woods to an all out war at the base of a windmill The swordplay had never been equaled until the next year when Lester’s second half of the story was issued separately as THE FOUR MUSKETEERS, and it’s the sequel where Christopher Lee, as the villain Rochefort, best shows off his own accomplished sword fighting skills.

New Regency Goes ‘Medieval’

medieval-times

“This is Medieval Times!”

Love that scene in ‘Cable Guy’.   Anywho, New Regency Pictures has acquired the  Alex Litvak and Michael Finch-penned screenplay for ‘Medieval’.   The screenplay was sold in a bidding environment with New Regency coming out on top.

The film’s  story line plays like ‘The Dirty Dozen’ in the age of castles, plagues and serfs, which the studio hopes to spin as a hyper-realistic action movie in the vein of ‘300.’

Sources close to the deal say the original screenplay was sold for  $800,000 against $1.6 million, a colossal payday not seen in some time in the spec market.

Source: The Hollywood Reporter