The two antagonists begin their series of bloody encounters when D'Hubert is ordered by his commanding general to arrest Feraud for wounding the local mayor's nephew in a duel. Feraud, in a hopelessly irrational state, challenges D'Hubert to a duel, which is carried out more or less on the spot. D'Hubert comes off slightly better in the initial encounter, which only serves to fuel Feraud's rage, and the course of the film is set.

The cinematography of this film, shot by Frank Tidy, is almost beyond comparison. The previous versions on VHS simply looked muddy and rather washed out. The colors lacked any real saturation, rendering Feraud's bottle-green dolman black and it almost looked like a poor quality black and white in some scenes, especially those set in Napoleon's abortive Russian campaign.

The DVD transfer, by contrast, is staggeringly beautiful and releases colors, which I did not realize existed in the original. I am, by coincidence, a professional cameraman and I rate this as the best shot film I have ever seen. The only criticism I have is a somewhat inconsistent use of graduated filters, which, whilst they were probably quite innovative for their day, don't always work well. Grads are always a problem and any film made since will tend to suffer the same way. A very minor point.

The costumes and settings; mostly in The Dordogne, make the film not only totally authentic but defy the viewer to believe that it was made on a shoestring budget. The visual splendour challenges any modern filmaker to create the same effect without spending a vault full of money to achieve it. That is only part of the appeal of the film.

The acting performances, particularly by Keitel, want for nothing. The scene with Feraud standing on a cliff overlooking the river valley, taken in context, makes you realise that his life and pretensions to honor have been for nothing. His mania for revenge has cost him everything. Melded to the other performances with superlative skill by Ridley Scott, this film is a masterpiece and has now gone from a film I liked a lot to one which is now firmly wedged in my top ten. Like as not, it will stay there for a long time.


Scott's Napoleonic Epic is a must see.   June 25, 1999
24 out of 24 found this review helpful

Ridley Scott made this film in the mid-70's prior to going into the big time with such hits as "Alien." While obtaining film making experience by making commercials, he learned to visually pack an image and do so with exciting details. "The Duelist" was made on a shoe string, but looks like it cost 10-20 times as much. Every dollar is on the screen. The sets and costumes are excellent. The camera style--dramatic and romantic-- often captures scenes that looked like they have been painted by David, a major French painter of that period. Exteriors show period chateaus in early morning light under blue skies, while the interiors are bathed in candle light. The sword play is wonderfully visualized as both men fight each other in a series of duels over many years. Both Carradine and Keitel are excellent as two officers serving under Napoleon that must live by a code--no matter how that severe code of honor affects their lives in war or peace time. This excellent action film is a jewel. See it. Hopefully, it will come on DVD soon.


Stunningly Beautiful Film   October 13, 2003
Westley (Stuck in my head)
23 out of 25 found this review helpful

Director Ridley Scott (Thelma & Louise, Gladiator, Alien) made his directorial debut with this overlooked gem - THE DUELLISTS, based on a story by Joseph Conrad. Released in 1977, the movie didn't make much of an impact in the US, although it was nominated for the Golden Palm at Cannes and won Scott the coveted Best First Work at that festival.

The movie chronicles the long-lasting feud between two French officers, the hot-headed Feraud (played by Harvey Keitel) and the more even-keeled D'Hubbert (played by Keith Carradine), during the Napoleonic wars. The feud has murky beginnings, but it lasts for decades due to the lead characters' desires to avoid losing their "honor." As they cross paths during various parts of their lives, they duel.

The duel scenes are well-filmed and add a great deal of excitement to the plot. The main story is also interesting, as the men's duels forge an unlikely relationship between them. The lead actors do a passable job in their roles, although they seem out of place amongst the largely British supporting players; Keitel actually seems more at place in the film, despite his eastern accent. Finally, the cinematography is stunning, and it's one of the most beautiful looking films of its period; the look of the film is a bit like "Barry Lyndon," although the tone is warmer. Overall, this film is an intriguing part of the Ridley Scott canon; it stands among his best works and one of the most overlooked films of the 70s.

DVD extras: director's commentary with Ridley Scott, and director Keith Reynolds also interviews Scott.


Thought-provoking first effort by Ridley Scott   May 28, 1998
14 out of 14 found this review helpful

Ridley Scott's first theatrical release, "The Duellists", is a thought-provoking exploration of the rivalry between two officers in Napoleon's army. The plot is taken from the Joseph Conrad short story, "The Duel", in which two French officers face each other in a series of duels over 15 years. Keith Carradine plays Lt. Armand d'Hubert, a Hussar of Napoleon's cavalry, who is sent on a routine errand to arrest Lt. Gabriel Ferraud (played by Harvey Keitel), for having wounded a man in a duel. Upon hearing of his arrest, Ferraud challenges d'Hubert to a duel, which both survive. Although d'Hubert is reluctant to fight, and though forbidden by his commanding general to confront Ferraud while the army is at war, he cannot avoid the other man's challenges. What was merely a perceived insult on Ferraud's part becomes a matter of honor. In early 19th century military fashion, the duel was an acceptable, if unsanctioned, way of defending one's reputation. D'Hubert, too, seems drawn to the violent encounters, as a way of setting the record straight (if not for Ferraud, at least for the troop). Both men are portrayed as loyal and able soldiers. D'Hubert is laid-back, cautious yet brave, his loyalty to Napoleon tempered by realism. Ferraud is touchy, combative, fanatical. Even after the Emperor's final defeat he remains sure of his devotion. In the final chapter of the film we see d'Hubert settled in quiet married domesticity (and security in the restored King Louis XVIII's army), while Ferraud languishes in obscurity as an outdated Bonapartite. The two men (now generals) will meet for a final time. The outcome is intriguing, and it follows Conrad's story to a melancholy end.

Film reviewers have often criticized Scott's films as having tons of atmosphere but not much meat in the plot or emotional punch at the end. I would say that anyone who is a fan of Ridley Scott films ("Alien", "Blade Runner", "1492" or even "White Squall") should see "The ! Duellists" to find where Scott gets his stunning and unique visual style. The supporting cast, mostly English, does a fine job: Tom Conti as d'Hubert's surgeon friend, Diana Quick as his lover, Robert Stephens as the general, and Albert Finney as a cunning commissar. I rate it a 9 for intellectual vigor and beautiful scenes. END


A masterpiece   October 12, 2001
John McCormack (Liverpool, England)
11 out of 11 found this review helpful

This stunning film is incredibly beautiful to watch; the scenary, script, and actors are wonderful. This is a highly intelligent piece of work, so many films are sheer pap, driven by special effects, and soundtrack franchises; in contrast the Duellists is a work of art which has a great integrity.

Apart from a great personal interest in history, I am an experienced fencer with foil, epee and sabre and this film contains the most brutally accurate swordplay I have ever seen. As other reviewers pointed out, this is no Errol Flynn picture. It confronts romantic notions with some stark truths. I find it hard to watch the sabre duel in the cellar which lays bare the result of carving human meat with edged steel.

The historical realism of The Duellists is spot on down to the smallest details of Napoleonic campaigning. The horrible scenes set in the Russian snows vividly bring home something of the agony in 1812.

I find this a very subtle film, posing questions for each viewer to answer in their own way. The actors do not parade convenient 20th Century attitudes; the pain of D'Hubert's mistress is deeply poignant.

If anyone enjoyed this film I strongly suggest reading Joseph Conrad's short story The Duel. Ridley Scott remains virtually 90% faithful to Joseph Conrad, but the ending of the original story has one subtle embellishment the film does not develop.