Classic Review: The Duellists (1979)

As Ridley Scott’s film, Napoleon, hits theatres today, let’s revisit his debut feature and explore his first venture into Napoleon-era historical epics.

Set in early 19th century France, The Duellists follows the rivalry between two officers of Napoleon’s army, Gabriel Feraud (Keitel) and Armand d’Hubert (Carradine). After a minor slight is committed, the hot headed Feraud engages d’Hubert in a series of duels over a 16-year period, from the height of the Napoleonic Wars, to the French retreat from Russia, and post-Napoleon France. Beyond location, these duels were also fought amidst a climate of ever-changing politics, social hierarchies, and societal change.

Over his decades spanning career, Scott has firmly established himself as one of the great visual stylists, boasting some of cinema’s most striking and iconic images. He started his directing career later in life than most other filmmakers, with an extensive background in advertisement work and art school, and was 40 years old when he made his debut film, The Duellists. That extensive experience in the visual arts is evident throughout. Meanwhile, he never had to grow his style over time like most directors, it was already on full display from day one. From the film’s lush French landscapes, to its ornate interiors of castles and the grit and grime of violence, they are captured with the utmost of visual splendor, with many shots appearing to have been lifted directly from a painting. In a filmography of stunning looking films, this one easily ranks as one of Ridley’s finest achievements purely based on visuals alone. However, narratively, it is a slightly different story.

Adapted from a short story by Joseph Conrad, The Duellists employs an episodic structure that works better on paper rather than as a film, at times feeling like six short films bundled together. While being six great short films, their connective tissue often gives the film a stop and start pacing which impedes its momentum needed for the final climatic duel to truly tie it all together. Though where it may lack as a cohesive whole, the film’s lead performances and direction help to elevate the story to riveting heights. Keitel and Carradine are equally terrific here as Feraud and d’Hubert, selling the intensity of their rivalry while the motivation behind it is already lost to time. An examination and tear down of the sense of duty and personal honor both men harbor. Rooted in spite, violence is the only outlet by which these men can express themselves, reverting themselves back to their most animalistic tendencies. That base violent urge is reflected across the various duels themselves, featuring some of Scott’s most viscerally directed action scenes of his career. While the battle scenes are on a much smaller scale than his latter historical films, it’s no less intense thanks to his penchant for gritty violence shining through.

In the end, The Duellists not only showcases Ridley Scott’s early mastery of visual splendor and primal emotion and violence, but also serves as a precursor to the more epic scale films that audiences have come to expect from him. A breathtakingly stunning and well acted film, where it falters slightly is its disjointed narrative. Ultimately, it’s an impressive debut that stands amongst Scott’s most underrated efforts. For those looking for something to pair with Napoleon, look no further than The Duellists!

still courtesy of Paramount Pictures

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Alex Josevski

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