The Duellists

Keith Carradine and Harvey Keitel play Armand d'Hubert and Gabriel Feraud, a pair of French cavalryman during Napoleon's conquest of Europe who spend the best part of two decades in a state of perpetual quarrel. The Duellists, Ridley Scott's feature debut, is brisk and beautiful, a film utterly disinterested in the storied military careers both men clearly lead. Their ascension through Bonaparte's ranks mere circumstance, often contextualised as nothing more than a courtly wrinkle that prohibits their game. Scott's film, working from a screenplay by Gerald Vaughan-Hughes, is instead built around hot spots - the moments when the two men have the opportunity to either encircle each other or outright collide.

Over the years the dispute grows and distorts in both men's minds. d'Hubert, the more fretful and temperate of the two, cannot help but develop a strange sort of camaraderie for his fiery opponent, a respect that, sadly and quite apparently, is never reciprocated. For Feraud, the fanatic, the original ignition point - d'Hubert interrupting the party of a beautiful socialite to inform Gabriel that he is to turn himself in after skewering the mayor of Strasbourg's nephew - mutates over the years. Speaking to a group of lackeys before the pair's final duel, Feraud's grasp on the original tension point has grown from an acute, ego-prickling embarrassment into a thundering, manufactured, outrage regarding d'Hubert's failure to properly honour France's (by now deposed) emperor.

Feraud is a scrapper, aggressive and impatient. The first duel we see him fight (against the aforementioned nephew) represents this wild man in complete control, his movement, or lack thereof, dictating the film's visual grammar. At rest, Scott and Cinematographer Frank Tidy photograph Kietel as a figure - one of many - in smokey, Romantic landscapes. When battle is joined, the film becomes energetic and hand-held, the camera positioned closer so we can see feel the irritation radiating off Feraud. Kietel plays a peculiar sort of neutrality in this scene too. He isn't happy that he's prevailed so decisively in this life-threatening situation, he's frustrated that success was achieved, not through his own skill with a rapier, but because of his adversary's sloppiness and incompetence. He wanted a challenge and didn't get it.

Each of the film's duels follow this template, fight choreographer William Hobbs conferring a distinct structure and identity on each of the altercations. Hobbs posits conflict as a dramatic proposition both synchronised with, and commenting upon, the combatants' physical and emotional distress. Scott and Tidy collaborate, photographing their duellists in such a way that the audience is never allowed to simply sit back and feel the distance between themselves and the film's subjects. We marinate in their anxiety. Again and again Carradine and Kietel are arranged in ways that amplify our connection with them. A mid-film battle, in an airless stone cellar, evokes a bloodied sense of exhaustion. Both men flail about - already injured - crashing into each other with their heavy swords. Onlookers flinch, scrambling out of their way; the sabres striking sparks as they paw at the room's confines - violent but ultimately inconclusive.

The Duellists oozes confidence, Scott's film constructed around opportunities for tension and, eventually, release. A sense of historic chronicle is evoked, not through length or dramatic complication but through the film's mise en scene - the wax and wane of female contact or the ways in which an individual is arranged in massive, bucolic landscapes. Although not singular in its look - Stanley Kubrick and John Alcott had already photographed Barry Lyndon absent of any electrical light - Scott's film finds beauty in the choke of proximity. Verisimilitude deployed as shorthand, suggested through cluttered, smokey frames or even just complicated uniforms. That such a contradictory visual choice exists implies an intent that we may not understand but, nevertheless, instinctively feel. Frequently our noble Hussars are lost in rotting, impoverished environments, their perfectly tweaked moustaches and braided cadenettes instantly recognisable as notes of beautification or ego, battling against the wave of frigid hostility that envelops them.