The Duellists (Ridley Scott, 1977)

It's an OK film and is beautifully shot ---except for the use of a filter that darkens the top of the frame that was annoyingly popular for a short time. It was fine when used sparingly, like to create a moody sky but Scott uses the effect so much in this film that it calls attention to itself and becomes distracting. I've tried watching it again several times over the years because there is some good stuff in it, especially the performances but that constant dark top of the frame sill bugs me.

Yet another Ridley Scott film I haven't seen and one that I've heard very good word of mouth on.

Terrible film.

I liked this, what was essentially a horror film: what if the customs of your society made it perfectly normal for Harvey Keitel to try to kill you for 15 years? There's no budget and it really suits it, there's no Napoleonic battles and everything's filmed in old buildings, time constantly moving forward from duel to duel.

Some of the editing is dated, the first love interest should be cut down, and Carradine probably shouldn't have used the word "absurd" and then have it repeat in voiceover. But trying not be killed for being the messenger is bizarre and believable (and apparently coming from a Conrad story based in fact). I want to see modern day Scott operate with this kind of narrative momentum and spare set design.

The Duellists >>> Barry Lyndon

The blu-ray, whenever released, will be astonishing.

Keitel's final scene of him staring out at the vast expanse of countryside made me come to the realization that though it is based on the Conrad story and apparently before that on a true event, on a thematic level to Ridley Scott, Keitel represents Napoleon himself, and Carradine represents England. Keitel is a man who continually attacks again and again and again, with years separating the strikes and with seemingly no sensible objective that Carradine understands or any explanation that been given, but Carradine is honor-bound to fight back and defend himself time and time again, across all of Europe, each time with weary resignation despite his fear and the many wounds he suffers. By the end, Keitel is down and out, and even imprisoned like Napoleon was on the island, but he gets out for one last all-or-nothing attack against Carradine, his Waterloo.

At least that's how I read it. And as they make Keitel dress in an increasingly Napoleonic fashion (hat and all) as the film progresses, and give him an unblinking love for the dictator, it only stands to reason. Thoughts?

I thought there was a lot of humor in how disreputable his fellows were by the last duel: a scraggly dude with an eyepatch and his friend sneaking around Carradine on his morning walk.

The Napoleon metaphor works (as far as I know Napoleon). With all the battles and history removed it makes what violence you see onscreen ridiculous and unnecessary, an intrusion each time. I interpreted as a nightmare of male honor. It's kind of similar to the use of the Carradine character in McCabe and Mrs. Miller.