SnoopyStyle
In Napoleonic France, Lieutenant Armand d'Hubert (Keith Carradine) is sent to arrest Lieutenant Gabriel Feraud (Harvey Keitel) for fighting a duel. Feraud takes offense at a slight during the arrest and challenges him to a duel. The men fight but are stopped by Feraud's mistress. D'Hubert is sent back to the front with his men. Months later, Feraud challenges d'Hubert once again. D'Hubert is severely injured. After recovering, they fight again but this time to a standstill. D'Hubert is promoted to captain and it's forbidden for different ranks to duel. Years later, Feraud is now a captain. He runs into d'Hubert and they clash once again. Their paths continue to cross and their duel is reignited again and again.Director Ridley Scott paints a natural picture of the era. The fights are visceral and real. There is a pointlessness to these fights that is based on old ideas of honor. It can get repetitive. The actors are fine and Keitel is compelling whenever he gets on the screen. Keitel's obsessive character is far more interesting than d'Hubert and would be a much more intense character study. This is a somewhat meandering story that is punctuated whenever Keitel shows up. It's an impressive theatrical directorial debut for Ridley Scott.
Murtaza Ali
While people often hail Ridley Scott as the maker of films like Gladiator, Blade Runner, and Alien, they rarely talk about his debut film 'The Duellists' which can certainly be described as the single greatest achievement of Scott's highly decorated filmmaking career.The Duellists has the look and the feel of a big budget film despite being shot on a budget that can be described as moderate at best. The film thrives on Scott's remarkable ability to spot and adapt untouched stories of master storytellers like Joseph Conrad (in case The Duellists) and Philip K Dick (in case of Blade Runner).The Duellists basically tells the story of two Napoleonic officers who engage in a series of uncompleted duels that go on intermittently for years. In a nutshell, it is a tale of pride and honor, and, more importantly, obsession. Harvey Keitel and Keith Carradine play their respective parts to a tee, brilliantly complementing their contrasting roles.The movie's cinematography, editing and music are absolutely topnotch and provide the perfect foil for Scott's ingenious direction and Gerald Vaughan-Hughes' brilliant adaptation of Conrad's short story which bear a striking resemblance to Hugo's Les Miserables.The Duellists is a underrated masterpiece and certainly deserves more attention than it has received over the last 35 years or so. There is little doubt that it is the single greatest achievement of Ridley Scott's filmmaking career. The Duellists bears quite a few similarities with Stanley Kubrick's supremely masterful 'Barry Lyndon' -- another film that deals with duels and notorious soldiers -- and can be relished back-to-back with it. The Duellists is a film that a serious film- goer simply cannot afford to miss.For more on the world of cinema, please visit my film blog "A Potpourri of Vestiges".
poe426
The basic premise of THE DUELLISTS is sound, as is the superb cinematography, as is the direction; the problem lies with the CASTING. Don't get me wrong: I'm a Keith Carradine fan; from McCABE & MRS. MILLER to EMPEROR OF THE NORTH to THE LONGRIDERS and most of what came between, I've been a fan; likewise, Harvey Keitel (especially as the sleazy pimp in TAXI DRIVER)- but neither man should've been cast in this movie. Carradine is stiff to the point of rigor, and, although Keitel fares better, I would've preferred to have seen FRENCH actors in these two roles. I've railed elsewhere about Brits being cast in almost every English-speaking role in every "epic" featuring everyone from Greeks to Romans to even- gads- Americans. If THE DUELLISTS reminds us of any one thing, it's about the importance of CASTING.
Adam Peters
(83%) Could this be the finest shot, most beautiful films ever to be made by a first time feature film maker? Well it's certainly a contender. Scott really went to town making this look and feel like a period novel has come alive on the screen using both fine tiny detail and wide open and very dramatic vistas. The plot deals with both the importance and the absurdity of honour in the early 19th century as the two army officers have an off and on again personal battles rather likened to a romantic comedy. There's enough substance to accompany the stunning visuals, but the film is a touch one note, although the ending is brilliantly powerful and satisfying in a very unique way.
AD
