Reviewed by Jerry Saravia
Imagine holding a grudge towards someone, a friend, ally or enemy (god forbid, a family member), for decades. In these modern times, we would stay far away from them and hope there is no chance of running into them. In Ridley Scott's fabulous directorial debut, "The Duellists," two comparatively different men fight several duels over the course of nearly two decades without any real victory other than nursing deep wounds.
Starting in 1800 during the Napoleonic Wars, we are introduced to the fierce French Lt. Feraud (Harvey Keitel), a man with a violent temperament who engages in sword duels to the death and is loyal to Napoleon Bonaparte. The reasons for his incessant dueling are not divulged other than having a violent temperament. Lt. Armand d'Hubert (Keith Carradine) is a dedicated French soldier who is under orders to place Feraud on house arrest for having almost killed a mayor's nephew. Naturally, Feraud is not just any French soldier who can be reasoned with - his rage is unfathomable as he is prepared to duel d'Hubert who is just following orders. It turns into an embarrassment as the two have a swordfight which leads to d'Hubert getting a severe though not fatal wound, and some deep scratches on his face by Feraud's mistress (Gay Hamilton, who also appeared in "Barry Lyndon"). D'Hubert is looked upon unfavorably by his Brigadier-General Treillard (Robert Stephens) who sees d'Hubert as weak and incapable, demoting his rank to the barracks with the regiment.
"The Duellists" carries on with this "light cavalry skirmish" for so long that you wonder why death hasn't approached either one of them. D'Hubert is unequivocally loyal to his rank and standing (he assumes Colonel and General positions), and duels are forbidden (or at the least, frowned upon) when the duellists are of different ranks especially in a time of endless war. Feraud cannot let go of these bloody duels, the last of which (prior to using guns) results in Feraud obtaining a head injury. From Augsburg to Lubeck to a haunting passage of frozen Napoleonic soldiers on the Russian front (defeated by "General Winter") where Feraud and D'Hubert shoot at Cossacks - the one meeting where a duel doesn't emerge - to d'Hubert's home where they engage in a pistol duel near some castle ruins.
"The Duellists" can hardly have persuasive casting when it comes to its two charismatic leads who are anything but French in appearance, Harvey Keitel and Keith Carradine. Yet even if both Keitel and Carradine seem too modern, it doesn't matter because they acquit themselves with their depiction of their characters' own tribulations, passions and dedications to the war effort. Feraud may have mistresses throughout his life but d'Hubert is the one who settles down, gets married and joins the Louis XVIII army. These two powerhouse talents give us enough shades to trample any lack of casting credibility.
"The Duellists" is breathtaking, forceful cinema by a director whose tantalizing vision (based on Joseph Conrad's short story) consumes us from first frame to last. Howard Blake's memorably moody music score elevates everything we see and every image here is as potent as "Barry Lyndon" of which this pays direct homage to. Never have deathly grudges been so picturesque.
