The Last Duel soundtrack

The Last Duel tracklist

The Last Duel soundtrack: complete list of songs used in the movie/tv show/game.
The Last Duel soundtrack
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The Last Duel tracklist: help us to build the biggest library of soundtracks.

Full List of Songs:




Duel Preparations
/5  (
 votes)
Correct?:(14)
added on: 1 Dec 2021
Marguerite de Carrouges
/5  (
 votes)
Correct?:(24)
added on: 1 Dec 2021
Leaving For Scotland
/5  (
 votes)
Correct?:(13)
added on: 1 Dec 2021
Returning Home
/5  (
 votes)
Correct?:(26)
added on: 1 Dec 2021
Jean de Carrouges
/5  (
 votes)
Correct?:(22)
added on: 1 Dec 2021
Court of King Charles
/5  (
 votes)
Correct?:(12)
added on: 1 Dec 2021
I've Never Seen You Like This
/5  (
 votes)
Correct?:(16)
added on: 1 Dec 2021
Jacques LeGris
/5  (
 votes)
Correct?:(27)
added on: 1 Dec 2021
Confession
/5  (
 votes)
Correct?:(13)
added on: 1 Dec 2021
Chapter 3
/5  (
 votes)
Correct?:(27)
added on: 1 Dec 2021
House Meeting
/5  (
 votes)
Correct?:(17)
added on: 1 Dec 2021
Left Alone
/5  (
 votes)
Correct?:(14)
added on: 1 Dec 2021
Forgive Me For Intruding
/5  (
 votes)
Correct?:(14)
added on: 1 Dec 2021
The Duel
/5  (
 votes)
Correct?:(19)
added on: 1 Dec 2021
Tell No One
/5  (
 votes)
Correct?:(14)
added on: 1 Dec 2021
The Aftermath
/5  (
 votes)
Correct?:(19)
added on: 1 Dec 2021
Confrontation
/5  (
 votes)
Correct?:(18)
added on: 1 Dec 2021
Managing The Estate
/5  (
 votes)
Correct?:(21)
added on: 1 Dec 2021
The Wolves
/5  (
 votes)
Correct?:(24)
added on: 1 Dec 2021
I Offer You A Name
/5  (
 votes)
Correct?:(24)
added on: 1 Dec 2021
Celui Que Je Désire
/5  (
 votes)
Correct?:(27)
added on: 1 Dec 2021
The Last Duel songs: full list of tracks included in your favourite film.

Questions:

 

The Last Duel About

King Charles VI declares that Knight Jean de Carrouges settle his dispute with his squire by challenging him to a duel.
Gatunek: Drama
Countries: United States of America
Released on: 24 Dec 2020     Boxoffice: unknown


Matt DamonSir Jean de Carrouges
Adam DriverJacques Le Gris
Jodie ComerMarguerite de Carrouges
Ben AffleckPierre d'Alençon
Harriet WalterNicole de Carrouges
Marton CsokasCrespin
Alex LawtherKing Charles VI
William HoustonHerald at the Duel
Oliver CottonJean de Carrouges III
Aurélien LorgnierCarrouges' Priest
Nathaniel ParkerSir Robert de Thibouville
Tallulah HaddonMarie
Bryony HannahAlice
Thomas SilbersteinPalace of Justice Clerk
Adam GoodwinRider
Ian PirieHenri
Daniel HornArgentan Herald
Michael McElhattonBernard de Latour
Sam HazeldineThomin Dubois
Clive RussellKing's Uncle
Julian FirthKing's Uncle
Sylvain LabléePalace of Justice Bailiff
Zoé BruneauLady Marie Chamaillart
Chloé LindauPierre's Mistress
Adam NagaitisAdam Louvel
Elise CapriceWoman at Orgy
Fiona Maherault ValinskiWoman at Orgy
Tassia MartinWoman at Orgy
Camille MutinWoman at Orgy
Caoimhe O'MalleyElizabeth
John KavanaghLe Gris' Priest
Zeljko IvanekLe Coq
Simone CollinsAgatha
Clare DunneCelia
Christian EricksonLouis the Old Farmer
Alex BlanchardTailor
Gin MinelliNoble Lady
Cécilia SteinerNoble Lady
Serena KennedyQueen Isabeau
Quentin OgierClergy
Paul BandeyClergy
Martin Vaughan LewisClergy
Brontis JodorowskyMagistrate
Peter HudsonMagistrate
Alexander PattieSergeant at Arms
Dimitri MichelsenTreasury Bureaucrat
Stephen BrennanPhysician
Colin David ReeseCarrouges' Gate Keeper
Bosco HoganPriest at Duel
Kyle HixonPierre's Tailor
Florian HutterDowry Lawyer
Sam ChemoulTeenager Carrouges' Estate
Jim RocheOrgy Spectator
Martin GogartyOrgy Spectator
Ronan LeonardOrgy Spectator
Shane LynchOrgy Spectator
Peter KirkbyOrgy Spectator
Kevin McGahernOrgy Spectator
Lorris ChevalierSinging Soldier
Mark AtkinEnglish Soldier (uncredited)
Janet GreneNobility (uncredited)
Chloe HarrisPeasant Woman (uncredited)
Karl HoganCrespin Guard (uncredited)
Tyrone KearnsMale Peasant (uncredited)
Brian ManningMale Peasant (uncredited)
Brian F. MulveyPhillippe (uncredited)
Fady NaguibScottley (uncredited)

 

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Movie/TV Show Reviews:

  • It's tempting to make a buckle out of "The Last Duel". After all, Ridley Scott began his career with a film about two gentlemen crossing steel and now, 44 years later, he returns to a similar topic. However, there will be no clamp, because the director has no intention of closing the filmography and already has several more projects up his sleeve. The juxtaposition of "The Last Duel" (2021) and "The Duel" (1977) shows how much both are films of their times. Despite his "artistic" visual pretensions, Scott has always been an audience-sensitive director. And while it's going all the way back to the Middle Ages this time, it's actually aiming straight at the zeitgeist. After all, The Duel embodied the cinema of the modernist mode: the literary prototype was a short story by Joseph Conrad, and the visual inspiration was the painting scale of Stanley Kubrick's Barry Lyndon. Of course, "modernist" meant "masculine" there: the woman played a corresponding supporting role, and the plot revolved around a pair of guys dueling at the length of their swords. "The Last Duel" significantly tones down these tendencies. Dariusz Wolski beautifully paints the presented world with the camera, but instead of Kubrick's chiaroscuro, we have a functional steel-gray Hollywood "realism". The story of two quarreling cockerels is enriched by a third, female perspective. The foundation of the plot is the true story of the last "judicial duel" that took place in France in 1386. Knight Jean de Carrouges (Matt Damon) has accused squire Jacques Le Gris (Adam Driver) of raping his wife, Marguerite (Jodie Comer). The gentlemen decided to settle the issue by ripping their guts out with sharp instruments. Today, they'd probably be throwing insults on Twitter, and Scott is targeting that analogy. The medieval costume makes it possible to sharpen the conflict significantly and raise the stakes (including the threat of literally burning Marguerite at the stake), but the topic is very current. When the accusations against Bill Cosby began to surface, one American newspaper published an ironic headline referring to the phrase "he said, she said". One sad "he" was contrasted there with an army of "she", illustrating the striking disparity between the "versions of truth" proclaimed by the accused and the accusers. However, Scott portrays the times when custom, science and power relations effectively tipped the scales to the other side and women could not talk about their harm, because one: it was not appropriate and two: no one would listen. The entire dramaturgical meat of The Last Duel thus comes from the starting trio, from the tension between three points of view: the husband, the wife and the third present their "truths", and the viewer must pass judgment. In a way, Scott filmed his own Rashomon here: we have three characters, three writers (Nicole Holofcener, Matt Damon, Ben Affleck) and three versions of the story. We also have three Ridley Scotts. There's an artisan who spins the story in a politely dull Hollywood zero-mode. He is a visionary who is more interested in the meticulous staging of the depicted world than the content: filming armor, mud and castle corridors. Finally, there's the quasi-feminist, the one from Ripley, Thelma and Louise, or G.I.Jane: a guy who tries to explore the female point of view. Unfortunately, the three Scotts get in each other's way. The first run through history - in de Carrouge's version - is therefore Hollywood boring, just like the knight played by Matt Damon. The grandiose sequences of battles and other horse riding delight the eye, but at the same time they slow down the course of history, unnecessarily inflating the film to two and a half hours. And the (well-intentioned) decision to point out which version of the truth is truer undermines the concept of "rahomonity" somewhat. Scott wouldn't have to lead the viewer by the hand, because he has actors who do it themselves - much more subtly, without putting a big dot on the i. Sure, Ben Affleck as the head of the feuding knights balances on a strange border between intended and unintentional ridiculousness. But already Damon interestingly shades his character depending on which version we watch him in. He smoothly transitions from the figure of an unjustly wronged bore to the figure of a self-righteous buffoon, remaining believable as still the same figure, only seen from different angles. Jodie Comer, on the other hand, bravely fights the trap of playing the role of a good, noble and well-read lady. She is, after all, the emotional anchor in this tangle of conflicting interests. In many ways, this is her film.

    12/20/2022

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