MEGALOPOLIS : Tuesday 15th October 2024

I finally got around to seeing the M Rated 'MEGALOPOLIS' this week, which was released here in Australia on 26th September. This American epic Sci-Fi film is Written, Co-Produced and Directed by Francis Ford Coppola, whose previous film making credits take in the classic 'The Godfather Parts I, II and III' in 1972, 1974 and 1990, 'The Conversation' in 1974, 'Apocalypse Now' in 1979, 'The Cotton Club' in 1984, 'Peggy Sue Got Married' in 1986, 'Gardens of Stone' in 1987, 'Bram Stoker's Dracula' in 1992, 'The Rainmaker' in 1997 with 'Twixt' in 2011 his most recent film before this one. Coppola spent US$120M off his own money to fund the production of this passion project which he first began considering in 1977 and for which he began script ideas in 1983. Production of the film has been on-again off-again over the years with him returning to the film in earnest in 2019. The film was selected to compete for the Palme d'Or at this years Cannes Film Festival, where it Premiered in mid-May, and has proven divisive amongst critics with mixed or average reviews. Costing in the region of US$130M to produce, the film has so far grossed just over US$11M.

Set in an alternate USA, New Rome is dominated by an elite group of aristocratic families. Although the Roman elite professes to live by a strict moral code, these aristocrats decadently enjoy forbidden pleasures including wild parties, a lavish lifestyle and all the trappings of their wealth and social standing, while ordinary Romans live on the poverty line. Among this elite group is idealist and forward thinking architect Cesar Catilina (Adam Driver) who wins the Nobel Prize for inventing the revolutionary building material Megalon. In addition, he secretly has the ability to stop time. He treats his superpower as a metaphor for his artistic workings - when Cesar stops time and space, everyone and everything else remains frozen.

Despite Cesar's success, he has fallen into bouts of alcoholism. Years earlier, his wife mysteriously disappeared, and District Attorney Franklyn Cicero (Giancarlo Esposito) prosecuted him for murdering her. Although Cesar was exonerated, he remains wracked by guilt, believing that his wife committed suicide because he was too wrapped up in his work. Cesar still longs for his wife, prompting his jealous mistress, TV presenter Wow Platinum (Aubrey Plaza), to leave him. 

Later at a live broadcast event, Cesar and Mayor Cicero offer different visions for the city's future. Cesar proposes using Megalon to build 'Megalopolis' - a utopian urbanist community, while Cicero argues that a casino will provide immediate tax revenue and jobs. During the event, Cesar meets Cicero's well educated, but directionless, daughter Julia (Nathalie Emmanuel). They initially have a disliking for each other, but after showing her his vision for Megalopolis, Julia intrigues Cesar by showing that she is the only person who can still move when Cesar stops time. They become lovers.

Wow marries Cesar's uncle Hamilton Crassus III (Jon Voight) the world's richest man and the CEO and owner of the Crassus Bank. Although Crassus likes his nephew, his mind and health are in decline, and he is easily manipulated by individuals like his other nephew, Clodio Pulcher (Shia LaBeouf) who has his own designs on inheriting the Crassus Bank. At the lavish wedding reception of the happy couple, the headline musical act is pop star Vesta Sweetwater (Grace VanderWaal). 

In an attempt to discredit Cesar, Pulcher leaks a paparazzi video of Cesar having sex with the alleged sixteen year old Vesta, prompting Cicero to condemn Cesar publicly. Although Cicero arrests Cesar for statutory rape, Julia vindicates Cesar by discovering that Vesta faked her age and is actually twenty-three years of age. 

After a redundant Russian satellite crashes to Earth and destroys large swathes of New Rome, Cesar begins construction of Megalopolis from the ruins, financing the project with his family fortune. However, the high cost of building Megalopolis contrasts with the level of poverty on the streets. Pulcher becomes a populist politician, encouraging ordinary Romans to oppose Megalopolis as an expensive folly. The draw of power leads Pulcher from populism to fascist agitator.

Julia, now pregnant, tries to broker a peace accord between Cesar and her father by taking her father to see the Megalopolis construction site. However, Cicero is unimpressed with Cesar's utopianism, although his wife Teresa (Kathryn Hunter) feels the opposite. Cicero begs Cesar to leave Julia - in exchange for which, he offers Cesar valuable blackmail material - a written confession that Cicero knew Cesar's wife committed suicide and maliciously prosecuted Cesar anyway. Cicero gives Cesar three days to decide, but needless to say Cesar declines.

Wow tries to force Cesar to leave Julia and marry her instead by saying that when she has inherited the vast Crassus fortune, she would give it all to him. When Cesar outright rejects her, she freezes his account at the Crassus Bank. She enlists Pulcher to manipulate Crassus into handing over control of the bank. When Crassus learns of Pulcher's duplicity, he has a stroke and collapses. Pulcher hires an assassin in the form of a nine year old boy to kill Cesar, who shoots Cesar in the head at point blank range, while he is signing an autograph for the seemingly innocent young lad. Cesar's doctors use Megalon to rebuild his skull, and repair his severely damaged tissue. 

Cesar and Cicero become allies after rioting Pulcher supporters attempt to storm Megalopolis and City Hall. Pulcher and Wow taunt the seemingly bedridden Crassus, but Crassus kills Wow and injures Pulcher with a hidden bow and arrow shooting a arrow directly into Wow's chest and firing off two arrows into Pulcher's arse. Cesar confronts the rioters, pleading with them to believe in his vision of a better future. His speech wins over the crowd, whose followers hang Pulcher and his right hand man Aram Kazanjian (Balthazar Getty) upside down from a scaffold.

With renewed financial support from Crassus, Cesar finally completes Megalopolis. Cicero, holding Julia and Cesar's baby daughter, Sunny Hope, promises to help Cesar build a better future. On New Year's Eve, as the clock counts down the seconds to midnight, Cesar turns to Julia and asks that she stop time. She does so, freezing them both and all around them leaving only Sunny Hope unaffected by the time stop . . . and she's way too young to click her fingers to resume normal service like her dad would have done!

The film also stars Laurence Fishburne, Talia Shire, Jason Schwatrzman, James Remar, D.B.Sweeney and Dustin Hoffman.  

The film opens up with the words 'Francis Ford Coppola's Megalopolis : A Fable' etched in stone. In other words it is a short story that tells a general truth or is only partly based on fact, and so it is here with references aplenty to real characters and their goings on from ancient Rome transplanted into a future world where those characters play out much as their ancestors might of done in the days of the Roman Empire. And in that respect I guess the film delivers showcasing the wild parties, the sex, the back stabbing, the murders and the political intrigue all wrapped up in a utopian vision of a future city where everyone lives in harmony and happily ever after. Visually the film is rewarding enough but that's just about where the positives end, as the cast of top notch A-list talent appear almost bewildered by what the Director is asking of them except for Shia LaBoeuf who chews up the scenery and his dialogue with reckless abandon, while others - Hoffman, Schwartzman, Shire and Fishburne are underutilised. As for the story - it goes around in circles and never seems to go anywhere leaving you with the feeling that after almost two-and-a-half hours of viewing it is seriously undercooked. It's a real shame because from Coppola I would have expected a whole lot more, but then perhaps his long gestating opus is his last hurrah, he ploughed his own hard earned cash into it, and he finally got to realise his passion project on the big screen, and all the naysayers be damned!

'Megalopolis' merits two claps of the Odeon Online clapperboard from a possible five claps.

-Steve, at Odeon Online-

FERRARI : Tuesday 9th January 2024.

I saw the MA15+ Rated 'FERRARI' earlier this week, and this American biographical sports drama film is Directed by Michael Mann and is based on the 1991 biography 'Enzo Ferrari: The Man, the Cars, the Races, the Machine' by motorsport journalist Brock Yates. Michael Mann's prior feature film making credits take in his Directorial debut in 1981 with 'Thief' which he would follow up with the likes of 'Manhunter' in 1986, 'The Last of the Mohicans' in 1992, 'Heat' in 1995, 'The Insider' in 1999, 'Ali' in 2001, 'Collateral' in 2004, 'Miami Vice' in 2006 and 'Public Enemies' in 2009. 'Ferrari' has been a passion project of Mann's since 2000 when he first began exploring making the film. Since then Christian Bale and then Hugh Jackman were attached to star as Enzo Ferrari, with Adam Driver eventually scoring the gig. 'Ferrari' was selected to compete for the Golden Lion at the Venice International Film Festival, where it Premiered at the end of August last year, before its wide cinema release in the US on 25th December, having so far grossed US$28M from a production budget of US$95M and garnering generally favourable reviews. 

The film opens up with pre-WWII black and white footage of cars racing around a dusty track with a young Enzo Ferrari (Adam Driver) crossing the finish line to take first place. We then fast forward to 1957 and now the owner of the Ferrari motor racing company and sports car manufacturer Enzo is seen waking up in bed one bright sunny morning next to his mistress Lina Lardi (Shailene Woodley). He sneaks out of bed, gets dressed and stealthily leaves the house bump starting his car down the drive so as not to wake Lina and their young son Piero (Giuseppe Festinese). 

He arrives home to Modena early in the morning where his wife Laura Ferrari (Penelope Cruz) is waiting for him, with a loaded pistol. After a heated exchange of words she shoots at him deliberately missing but putting a bullet hole in the wall at head height. Enzo then visits the family mausoleum to pay his respects to his son with Laura, Alfredo 'Dino' Ferrari, who died just one year previously in 1956 at the age of 24 from muscular dystrophy. Lina in the meantime is putting pressure on Enzo to grant their illegitimate son, the Ferrari name as his confirmation approaches.

Meanwhile, Ferrari’s manufacturing company is suffering from severe financial haemorrhaging. His accountant tells him that last year the company sold just 98 sports cars and to survive they need to sell four hundred in order to underpin Enzo's racing ambitions. Faced with no other choice, Ferrari must merge with a sister company in order to keep his business afloat. However, Laura owns half of Ferrari's shares, and ever since the company was founded in 1947 the pair have done everything on an even 50/50 basis. In order to move forward on deals, Enzo must convince Laura to sign the entirety of the company over to him. A resentful Laura demands a bank cheque for US$500K, which will bankrupt the company if she cashes it. The accountant also suggests that Ferrari should enter his racing team to the 1957 Mille Miglia - the 24th edition of the auto race held on a course totalling 992.332 miles (1,597.004 km), made up entirely of public roads around Italy, mostly on the outer parts of the country on 11th and 12th May 1957. The route was based on a round trip between Brescia and Rome, with start/finish in Brescia.

Meanwhile, during a private Ferrari test session at the Modena Autodrome, Eugenio Castellotti (Marino Franchitti) was testing a new Ferrari Grand Prix car for the 1957 season. He had been told by Enzo in person to test there and set a fast time, in order to beat an unofficial lap record that had just been set by Maserati. Castelotti hit a high kerb at a chicane and was thrown out of the car - his body was hurled 100 yards with the car repeatedly overturning before coming to rest in the members' stand. Castelotti was killed instantly. Enzo orders Laura to withdraw US$25K from the business account to give to Castelotti's widow. 

At the bank sitting with a clerk to withdraw the funds, the clerk makes the mistake of naming the villa where Lina lives. Laura confirms her suspicions by having her driver take them to the address located in the countryside outside Modena, where she confirms that Enzo has been having an affair, and has secretly been using company funds to maintain the villa. Laura confronts Enzo with the fact that she knows the truth. Enzo agrees to write the cheque and trusts her to wait until such time as a business partnership is forged. 

As the Mille Miglia commences in Brescia, Enzo encourages his drivers to remain ahead of the competition. During a pit-stop in Rome, Enzo’s newest addition to the team, Alfonso de Portago, (Gabriel Leone) refuses to change his tyres to stay in the lead. 

Later, while driving at top speed down a very long stretch of country road passing through the village of Guidizzolo he suffers a tyre blowout caused by a worn tyre striking the sharp edge of a cats eye in the road and loses control of the vehicle, which veers off the road, hits a telephone pole, jumps over a brook, bounces back on the road and ends up wheels down in the brook on the other side of the road killing de Portago by severing his body in half, his American co-driver/navigator and nine onlookers, five of whom were children, and injuring a further twenty.

Another of Ferrari's drivers, the veteran Piero Taruffi (Patrick Dempsey), completes the round trip to Brescia and wins the race in the Ferrari 315S, ahead of Wolfgang von Trips (Wyatt Carnell) also driving a Ferrari 315S in second place and Olivier Gendebien (Brett Smrz) and Jacques Washer in the Ferrari 250 GT LWB Scaglietti in third place, so completing a top three sweep for the Prancing Horse. Ferrari is blamed by the media for de Portago's lethal accident, and Laura cashes her cheque to enable Enzo to bribe journalists into deflecting the blame away from him and Ferrari. She signs over the full rights to the company, requesting that in return, Enzo refrain from giving Piero the Ferrari name until after she is dead. Enzo agrees, and later accompanies Piero to his half-brother's grave. In 1961 Ferrari and Enzo were cleared of any culpability in the crash at Guidizzolo. Laura died in 1978 and in 1989 Piero was nominated as vice-Chairman of Ferrari, and in 1990 he legally changed his name from Piero Lardi Ferrari to Piero Ferrari. He remains vice-Chairman of the Ferrari automotive company to this day. 

With Michael Mann's 'Ferrari' the Director here has delivered his trademark attention to detail and his top notch production values, coupled with two compelling performances from Adam Driver and Penelope Cruz, and a story covering a few months in 1957 that intertwines the emotion and turmoil of Enzo's personal life with his ambitions on the race track and the need to keep his company afloat. 'Ferrari' is, when all is said and done, a character study of a racing driver turned entrepreneur who is determined to put his sports cars on the map, build a company that will be the envy of motor enthusiasts everywhere long after he is gone, and who is able to overcome adversity in his personal and business life by always looking forward and never looking back. My one criticism of 'Ferrari' is that the film seems to look upon the 1957 Mille Miglia as the first time that Ferrari entered this race, when in fact Ferrari won its first Mille Miglia in 1948, followed by wins in '49, '50, '51', '52, '53, '56 and of course '57, which was the last year that the race was held in this format before being disbanded altogether in 1961 for driver and spectator safety reasons. 

'Ferrari' warrants four claps of the Odeon Online clapperboard from a potential five claps. 

-Steve, at Odeon Online-

65 : Tuesday 14th March 2023.

I saw the M Rated '65' earlier this week, and this American Sci-Fi action thriller film is Written, Co-Produced and Directed by Scott Beck and Bryan Woods in their third feature film pairing that has previously brought us 'Nightlight' in 2015 and 'Haunt' in 2019. The pair also penned the script for 2018's multi-award winning and nominated 'A Quiet Place'. With a budget of US$91M this film was released Stateside too last week, and has so far grossed US$24.5M, having garnered mixed or average Reviews along the way. The film was originally slated for release at the end of April last year, before being moved several times to its current release window. 

The film opens up on the planet Somaris, and there we find pilot Mills (Adam Driver), his wife Alya (Nika King) and their young daughter Nevine (Chloe Coleman) discussing a two year deep space expedition that Mills has been offered. While he is reluctant to be away from his family for such an extended period of time, he feels compelled to take the job in order to pay for Nevine's treatment for her much needed life threatening illness. We then fast forward to sometime in to that two year journey, and while Mills is sleeping his spacecraft hits an uncharted asteroid belt and ultimately crashes on an uncharted planet, with his ship split in two. He comes round, ventures outside and finds that the atmosphere is breathable, but also finds signs of 'alien' life.

However, his thirty-five passengers on board who were all in cryo-sleep have perished in the crash landing. After surveying his surrounds and deducing that all is lost, he contemplates suicide, until a beacon reveals that there is in fact one solitary survivor - a young nine year old girl named Koa (Ariana Greenblatt). Mills instantly decides to care for Koa and get her back home, but the pair have trouble communicating because they speak different languages. 

Mills soon discovers that the other half of the ship contains a functioning escape shuttle and sends several distress messages for rescue. Mills tells Koa that they're going to the mountain where the shuttle is located, which is about 12kms away. He lies though about her parents being alive to encourage her to go with him. As they steadily make their way across the terrain, they bond, while Mills protects Koa from attacking dinosaurs, having deduced that they are on Earth some 65 million years ago. 

The pair hunker down near a cave opening to rest up for the night protected by motion sensors dotted around them. Koa watches a number of video replays of Nevine, who died mid-way through Mills journey, before the pair fall asleep. Mills is woken by the motion sensors to find a giant T-Rex sniffing around the cave's entrance in the pouring rain. Mills shoots at the T-Rex injuring it, and then they retreat further inside the cave. A rockfall separates the pair, leading the two to fend for themselves before reuniting outside, with Koa going forward and Mills having to retrace his steps. Mills also discovers that an asteroid, whose debris caused his ship to crash, will strike Earth in about twelve hours, resulting in a catastrophic extinction event.

The two reach the ship, but Koa is angry and upset when she discovers that Mills lied to her about her parents still being alive. Mills opens up to Koa about losing Nevine and promises to protect her. In the escape pod they learn that rescue is on the way, and they are given the coordinates to aim for. The two board the escape shuttle, but the asteroid's debris which is now raining down all around them causes it to fall down the mountain, and land the wrong side up. Mills and Koa manage to fend off two large T-Rex, but the predator that they injured prior starts attacking them in the ship eventually righting it for take-off. Mills runs across the terrain to distract the T-Rex which follows him into a steaming geyser field, where the pair manage to kill it in a hot geyser blast. The two quickly return to the ship and blast off towards rescue as the asteroid collides with Earth, causing a catastrophic shockwave across the planet.

'65' can hardly be described as redefining the creature feature or the dinosaur movie in the way that 'Jurassic Park' and then 'Jurassic World' did. It's not great, but it's also not bad either despite a number of plot holes and lack of dialogue between the two protagonists, which leave Directors Woods and Beck with little option but to throw action set pieces at Mills and Koa - some of which land while others feel like they serve as fillers to move the story along. Adam Driver is convincing enough, but Ariana Greenblatt plays second fiddle here with next to no dialogue and to run around scared for her life, only to pull something out of the bag when you least expect it. And of course when the ending comes it is predictable and you always knew that they were gonna get the hell outta Dodge by the skin of their teeth. At a brisk running time of ninety-three minutes the film at least doesn't outstay its welcome.

'65' warrants two claps of the Odeon Online clapperboard from a possible five claps.

-Steve, at Odeon Online-

HOUSE OF GUCCI : Tuesday 4th January 2022.

I saw the MA15+ Rated 'HOUSE OF GUCCI' at my local multiplex earlier this week, and this is an American biographical crime drama film Directed by Ridley Scott in his second film release this year following 'The Last Duel' released in Australia at the end of October. This film is based on the 2001 book 'The House of Gucci : A Sensational Story of Murder, Madness, Glamour, and Greed' by Sara Gay Forden. The World Premiere screening of 'House of Gucci' was held at London's Leicester Square in early November 2021, was theatrically released in the US in late November 2021 and here in Australia on New Years Day. The film has received mixed reviews from critics, and it has so far grossed US$127M from a production budget of US$75M.

The film is inspired by the shocking true story of the family behind the Italian fashion empire, Gucci, and opens up in 1978 in Milan, where we see Patrizia Reggiani (Lady Gaga) working as an office manager for her fathers small but nonetheless successful trucking company. At a birthday party, Patrizia meets Maurizio Gucci (Adam Driver), an unassuming law student and heir to a 50% stake in the Gucci fashion house through his father Rodolfo (Jeremy Irons). In time Maurizio introduces Patrizia to his father, who in turn warns his son not to consider marrying the woman as he sees her as a social climber and only after his money, warning him that he will disinherit him if he goes ahead with a marriage. 

Ultimately Maurizio has little or no interest in the Gucci empire, and marries Patrizia anyway. Rodolfo kicks his son out of the family home and he lands a job at his now father-in-laws trucking business, where he says that he has never been happier. Patrizia later falls pregnant, and she sees this as a means for Rodolfo and Maurizio to reconcile their differences. She inadvertently tells Maurizio's uncle Aldo (Al Pacino) that she is pregnant. Aldo is delighted by the news and takes the couple under his wing, inviting them to New York. Aldo introduces Patrizia to his unintelligent and 'stupid' son Paolo (an unrecognisable Jared Leto), who aspires to be a Gucci designer despite his complete lack of talent. 

Thanks to Aldo, Maurizio and a terminally ill Rodolfo reconcile after being told the happy news that he is now a grandfather to their daughter Alessandra, shortly before Rodolfo's death. Rodolfo writes Maurizio back into his will, but fails to sign the necessary document transferring the Gucci shares to him before he dies. Patrizia fakes Rodolfo's signature, giving Maurizio a 50% share of Gucci.

Patrizia begins to hatch a scheme to obtain a controlling interest in Gucci by acquiring some of Aldo and Paolo's shares (the two hold the other 50% stake). She sees an ad on the TV for Giuseppina 'Pina' Auriemma (Salma Hayek), a psychic, whom she contacts for advice and guidance. She begins to manipulate Maurizio, who has little real interest in Gucci, into taking a more active role within the company. Paolo acquires proof that Aldo has been evading taxes in the US and so gives the proof to Patrizia in exchange for her promise that he will be allowed to design his own line, under the Gucci name. 

Aldo is later arrested by the IRS and sentenced to a year and a day in prison. Patrizia lies to the Italian Police and tells them that Paolo is not authorised to use the Gucci trademark, and so during a fashion show where Paolo is showcasing his collection the Police storm in and halt the show by force. Patrizia and Maurizio ask Paolo to sell them his shares, but he rebuffs them and cuts all contact between them.

Italian Police raid Maurizio's house and attempt to arrest Maurizio for forging Rodolfo's signature. He evades them by riding over to the border with Switzerland on his motorbike and has Patrizia and Alessandra join them a few days later. In the meantime Maurizio has renewed acquaintances with his old friend Paola Franchi (Camille Cottin). An argument later erupts between Maurizio and Patrizia, and Maurizio decides that he is tired of his wife's influence over himself, as well as the company. 

He orders his wife and daughter to return to Italy and begins an affair with Paola, which Pina has apparently sensed. When Maurizio's business plans begin to impact the company negatively he seeks assistance from equity company Investcorp, through which he hatches a plan to acquire shares of the company from a now-impoverished Paolo. Aldo is released from prison and Paolo tells his father what he has done. Aldo is incensed. When Investcorp offers to buy Aldo out, he refuses until Maurizio reveals himself as the deal's instigator. Completely dejected and betrayed, Aldo reluctantly sells the shares and cuts all ties with Maurizio.

Patrizia tries to reconcile with Maurizio, but he is not interested in the slightest. Later, he asks Patrizia for a divorce through his long-time assistant Domenico De Sole (Jack Houston), which Patrizia angrily refuses. Maurizio is looking to revitalise the brand image of Gucci and so recruits (almost as a last resort because every other 'name' had turned them down) up-and-coming designer Tom Ford (Reeve Carney). Ford's collections are well received at his launch fashion show and prove successful, but Maurizio has so thoroughly mismanaged the company's finances that Investcorp's leaders feel compelled to buy him out, offering him US$150M and replacing him with Ford and De Sole. Patrizia becomes so angered with Maurizio that she asks Pina to help her kill him. Pina puts Patrizia in contact with some hitmen 'from Sicily' and a few days later, the hit-men shoot Maurizio to death in broad daylight outside his office. 

Afterwards we see Patrizia and Alessandra knocking on the door of Maurizio's residence, for it to be answered by Paola. The pair share a tearful embrace, and then Patrizia orders Paola out of her home, immediately. In the closing scene we fast track two years, and in a courtroom the Judge presides of Patrizia, Pina and the two hitmen. The Judge asks a question of Patrizia Reggiani, who replies, 'my name is Patrizia Gucci'. Just before the end credits roll, the screen reveals that Aldo Gucci died of prostate cancer in 1990; Paolo Gucci died almost penniless in London in 1995; Patrizia was sentenced to twenty-nine years in prison, and Pina and the hitman and getaway driver received sentences of 25 years or more for the murder. Gucci is fully purchased by Investcorp who turn the business around and make it into the fashion empire it still is to this day, while no Gucci family members remain at the business today.  

'House of Gucci' reminded me in some small ways of the 1980's American TV soap opera series 'Dynasty' and 'Dallas' and seeing all those rich folk squabble and squander their millions of dollars and scheme their way in and out of each others business, more often that not with dire consequences. This is Lady Gaga's film make no mistake and for her portrayal of Patrizia there has to be an Oscar nod in there I'm sure, while Al Pacino as Aldo and Adam Driver as Maurizio also make compelling performances. As for the unrecognisable Jared Leto as Paolo, his performance is so over the top camp and impish that it's no wonder he was prepared to go full undercover so as not to be recognised! This is a highly entertaining film about love and loss, backstabbing and betrayal, money and murder all delivered neatly with the full gloss and panache that is Ridley Scott's trademark, who at the age of eighty-four is still churning out movies that command your attention, are engaging and have something to say. At two hours 37 minutes this film is over-lengthy at the mid-section before stumbling towards the finish line, but that said, 'House of Gucci' is nonetheless an enjoyable, sharply dressed romp of fashion and greed that ultimately brought the House of Gucci down, but not out. 

'House of Gucci' merits three claps of the Odeon Online clapperboard from a possible five claps. 

-Steve, at Odeon Online-

THE LAST DUEL : Tuesday 26th October 2021.

I saw 'THE LAST DUEL' at my local independent movie theatre earlier this week, and this MA15+ Rated historical drama film is Directed by Ridley Scott; written for the screen by Nicole Holofcener, Ben Affleck, and Matt Damon, Co-Produced by Scott, Holofcener, Affleck and Damon and based on the 2004 book 'The Last Duel : A True Story of Trial by Combat in Medieval France' by Eric Jager. Of course Ridley Scott is no stranger to historical dramas having helmed 'The Duellists' his 1977 debut feature film, '1492 : Conquest of Paradise' in 1992, 'Gladiator' in 2000, 'Kingdom of Heaven' in 2005, 'Robin Hood' in 2010 and 'Exodus : Gods and Kings' in 2014. This film was originally scheduled to begin a limited theatrical release at Christmas 2020, before going wide in early January this year, but as a result of the COVID-19 pandemic, the release date was delayed to mid-October 2021. It had its World Premiere screening at the Venice Film Festival in early September, before being released in the US and UK mid this month and here in Australia last week. It has garnered generally favourable Reviews, and has so far recouped US$19M off the back of a US$100M production budget. 

The film opens up with two heavily armoured knights on horseback racing towards each other with lances raised and shields poised to take the first blow, in an arena watched on by many of Paris' nobility, and the King of France, Charles VI. It is the 28th December 1386 and there is a thin blanket of snow covering the ground. The camera then cuts away, taking us back to 1370. The events leading up to the duel are divided into three chapters, reflecting the perspectives of Jean de Carrouges, Jacques Le Gris, and Marguerite de Carrouges, respectively.

Chapter One : The truth according to Jean de Carrouges

Jean de Carrouges (Matt Damon) is a soldier known to be fierce and unyielding in battle, is serving at Limoges in 1370 alongside the squire Jacques Le Gris (Adam Driver) - his long term friend. After seeing combat in Limoges against the wishes of the King, Le Gris thanks de Carrouges for saving his life. When Count Pierre d'Alencon (Ben Affleck) is named de Carrouges' overlord by his cousin, King Charles VI (Alex Lawther) both de Carrouges and Le Gris swear their fealty to him. Later Le Gris visits de Carrouges and informs him that d'Alencon has ordered all of his new vassals to pay their taxes to fund the war effort. de Carrouges explains he doesn't have the funds to pay and that he is broke. Le Gris agrees to ask d'Alencon, who has come to trust him as a confidant and advisor, for leniency in his case.

To restore his financial standing, de Carrouges marries Marguerite de Thibouville (Jodie Comer) and in the process receives a substantial dowry from her father Sir Robert de Thibouville (Nathaniel Parker) that includes valuable estates. He soon learns however, that one especially desirable parcel of land has already been seized by d'Alencon and given to Le Gris as a reward for Le Gris getting his finances in order. de Carrouges subsequently sues d'Alencon for the land to be given to him as it was promised to him in the dowry, but the King dismisses the lawsuit. The Count responds by appointing Le Gris to the captaincy of a fort that the de Carrouges' family had held for generations. Needless to say de Carrouges is mightily pissed off at this news and suspects Le Gris has turned d'Alencon against him.

Marguerite raises her concerns that they have no children, even after five years of marriage, but de Carrouges reassures her that whether they have children is in God's hands. While on a six month campaign in Scotland, he is knighted for bravery but returns home to be told by his wife that Le Gris raped her while she was alone in their home. Knowing that d'Alencon protects Le Gris, de Carrouges is adamant to challenge him to a duel to the death.

Chapter Two : The truth according to Jacque Le Gris

We go back to that battle at Limoges in 1370 and this time it is Le Gris who saves the life of de Carrouges in battle. In an early morning conversation with d'Alencon standing high up on his fort overlooking the French countryside, Le Gris recounts his humble early life and how he very briefly joined the church with designs on becoming a monk, but after a while decided it wasn't for him. Now however, he has earned the trust and respect of d'Alencon through his knowledge of Latin, reading and mathematics especially which has helped Le Gris to get the Counts finances in order and collecting, on his behalf, the debts owed to him by his vassels. Le Gris attempts to use his new position to help de Carrouges, but when d'Alencon showers him with gifts, as a show of gratitude, including the parcel of land promised to him as part of his wife's dowry, de Carrouges becomes envious and publicly mocks Le Gris.

When Le Gris sees Marguerite for the first time, he is instantly attracted to her and believes that she does not truly love her husband, who is illiterate and sees her only as a means for him to acquire a son and heir. Marguerite admits to her friends that Le Gris is indeed handsome but states that her husband does not trust him. While de Carrouges is away, his mother takes all the servants to help her with errands that day, leaving Marguerite alone, despite her husband advising that his wife is not be left home alone under any circumstances. Knowing this Le Gris gains entry to the household and declares his undying love for Marguerite. She insists that she is married and orders him to leave. Instead, Le Gris chases Marguerite up to her bedchamber. Le Gris then rapes her. In his mind, despite her protests and seemingly only mild objections he believes that Marguerite must love him. Before leaving, he advises her not to tell her husband, for upon hearing this news he would surely kill her, and he too will remain silent. 

Later d'Alencon tells Le Gris that de Carrouges is spreading news that he raped his wife. Le Gris, apparently shocked Marguerite perceived the incident as a rape, is advised by d'Alencon to deny, deny, deny the event. d'Alencon attempts to exert his authority to rule in favour of Le Gris, but de Carrouges has already appealed his case directly to the King and requested a duel to the death against Le Gris, who, determined to defend his honour, his name and his reputation, accepts de Carrouges' challenge.

Chapter Three : The truth according to Marguerite de Carrouges

Marguerite de Thibouville has entered into marriage with Jean de Carrouges and sets about helping him to restore his neglected estate to its former glory. Their marriage is soon strained by her failure to become pregnant, even after five years, and as de Carrouges leaves for Scotland, he reassures her that whether they have children is in God's hands. He also orders her not to leave their castle home and to not let anyone inside while he is away. 

de Carrouges' mother, Nicole de Buchard (Harriet Walter), takes all the servants with her on an errand for the day despite de Carrouges' order that Marguerite is not be left alone. Le Gris arrives with a servant who tricks Marguerite into letting them enter. Le Gris chases her up to her bedchamber and rapes her, with Marguerite screaming and crying for him to stop. When de Carrouges returns, Marguerite tells him what happened. He is enraged, and grabbing Marguerite by the neck demands to know if she provoked him. He then forces her to have sex with him immediately so that her last partner was not Le Gris. 

Marguerite, after praying in the chapel, is confronted by Nicole, who warns her against bringing Le Gris to trial, saying that she too was raped when she was younger and had to accept it as the way of the world so she could move on with her life, further stating that what Le Gris did to Marguerite is no different than French soldiers raping peasant women during wartime campaigns.

At Le Gris' trial in Paris, the judges interrogate Marguerite, who is now six months pregnant, six months after the rape. Is this coincidence given that she failed to conceive after more than five years of marriage they ask? She remains resolute in speaking the truth, even after being advised by the judges that should de Carrouges lose the duel she will be flayed and burned alive for bearing false witness against Le Gris, and that such a painful death can take between twenty to thirty minutes for the victim to die. The King in attendance, agrees to de Carrouges' request for a duel to the death. After the hearing Marguerite confronts de Carrouges for not informing her she would be killed if he fails, stating that their child could now grow up an orphan. When he defends himself by saying he is risking his life for her honour, she accuses him of prioritising his pride and his vanity over everything and eveyone else, including her life and that of their child's. Marguerite gives birth to their son, within just a few weeks of the duel. 

The 28th December comes around and the duel starts with de Carrouges and Le Gris jousting until both men lose their mounts and then fight hand-to-hand. de Carrouges is stabbed in the thigh but eventually manages to pin down Le Gris after he slashes him in the back of the leg with his sword. He demands that Le Gris confess or face ever lasting damnation, but Le Gris refuses and once again claims his innocence. de Carrouges stabs him through the mouth, killing him. No longer a prisoner, Marguerite is unchained and permitted to join her husband. As Le Gris' body is stripped naked and dragged away along the frozen ground by horses to be strung upside down for public display, de Carrouges and his wife depart the scene on horseback with de Carrouges soaking up the glory of his victory before the cheering crowds of Paris, while Marguerite follows quietly behind.

The final scene shows Marguerite and her no more than two year old son playing in the grounds of the family estate on a sun drenched day. An epilogue tells us that de Carrouges died fighting in the Crusades two or so years later while Marguerite continued managing the estate, living in peace for the remaining thirty years of her life and never marrying again.

This is a film that needs to be seen on the big screen and whilst the Reviews have generally been favourable, it would be disappointing for Scott and the studio that at the Box Office this historical drama has underperformed. Perhaps the reason for this, is that a story of this nature doesn't grab the hearts and minds of the younger cinema going demographic, but is instead aimed more squarely at an older 40+ demographic who are still a little ill at ease with venturing back into a movie theatre post-pandemic. Once again, here Scott has not neglected the production values which are top notch, the cinematography is first rate, the performances from the four seasoned leading players is credible, the action scenes expertly staged, and a clever script all help propel this medieval story along at a good pace. It could be seen as a forerunner to the 'Me Too' movement with themes of misogyny, patriarchy, rape and the issues faced by women in the 14th Century being not so far removed from the issues faced by women six hundred years later. My only gripe is that at a two-and-a-half-hour run time, Scott could easily have cut fifteen to twenty minutes out of this without too much detriment to the story, but nonetheless 'The Last Duel' is a well crafted historical film with a message grounded in todays world that will keep you invested right up until the brutal, bloody and bitter end. 

'The Last Duel' merits four claps of the Odeon Online clapperboard from a possible five claps. 

-Steve, at Odeon Online-