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A modern fable of conflict: ‘The Duel’
In a time when divisions run deep and the use of firearms is under intense scrutiny, “The Duel” emerges as a faux-elegant fable about resolving differences in the most archaic way possible. This film, directed by Luke Spencer Roberts and Justin Matthews, had a one-night-only screening on July 31 before hitting streaming platforms in August. While it boasts a sharp visual style, the movie ultimately lands like a rapier with a cork on it, as Dylan Sprouse and Callan McAuliffe play longtime friends who decide to settle a dispute by dueling with pistols.
A clever idea that falls short
At first glance, “The Duel” seems like a clever concept, prompting the question of why no one had thought of it before. However, as the film progresses, it becomes clear that the directors didn’t fully flesh out the idea. My personal library contains no fewer than four books titled “The Duel,” the shortest of which (by Joseph Conrad) runs a slender 112 pages but still offers more subplots and surrounding interest than this debut feature. While the premise could sustain a modestly amusing short film, the creative duo, who also penned the romantic comedy “Upgraded” earlier this year, should have given the concept more thought.
The plot: A tale of revenge and dueling
The elegantly lensed but underwritten tale revolves around two guys who decide to duel and then methodically go through with the arrangement. Narrator Patrick Warburton, whose irony-filled baritone sounds like a namby-pamby Optimus Prime, informs us that the trouble started when Colin (Sprouse) stole the woman Woody (McAuliffe) hoped to marry. In retaliation, Woody took Colin’s prized possession—a surfboard hand-carved by his late father—and torched it.
Rather than calling it even or trying to talk things over, Woody seeks out an underground society to supply them with antique weapons and a suitable place to use them. The goal is for one of them to be dead and the other vindicated. Had Woody actually made it to the altar with Abbie (Rachel Matthews, who barely registers as a character), Colin surely would have been his best man. Now, the aggrieved ex-friends must turn to their next-best-friends, Kevin (Hart Denton, dopey) and Sam (Denny Love, trying too hard), to serve as “seconds” in this formal affair.
The setting: A dueling emporium
This is how four clueless young men, who look like characters from an ”American Pie” sequel, find themselves brawling outside what appears to be a Prohibition-era speakeasy. The inconspicuous establishment turns out to be a rather elaborate dueling emporium, stocked with all manner of score-settling paraphernalia. The all-too-proper proprietor, Christof (Warburton), nearly calls off the duel but instead runs them through the formal rules, from the slap in the face with an empty glove to the selection of an appropriate venue for their shootout.
The subtext: A critique of conflict resolution
The obvious subtext of the film is that a lot of grief could be spared if these two fellows would be good sports and just agree to discuss their problems. Meanwhile, the guys accept the offer of Christof’s best customer, an avid collector named Rudolpho (Ronald Guttman), to duel on his estate. He even furnishes them with antique costumes and a few extra hours to cool their heads. Colin and Woody walk and talk, starting to work things out, aided by a model-gorgeous hanger-on named Aphrodite (María Gabriela de Faría).
The anticlimactic duel
But this wouldn’t be “The Duel” if there was no duel. Though the directors, who bill themselves as “Luke & Justin,” have a point they want to make, it all feels rather anticlimactic. Neither Colin nor Woody ever become fully dimensional human beings, and the screenplay’s bursts of wit feel more like attempts to channel Quentin Tarantino or Martin McDonagh than evidence that either of these characters are worth sparing. Their reasons for dueling were never compelling enough for us to care who wins, which saps the sad-trombone ending of its tragedy. It’s not a good sign when the waste of a life starts to feel more like the waste of a bullet.
For those interested in exploring the film further, you can watch the trailer and find more information on The Duel.
This article aims to provide a comprehensive and personal perspective on “The Duel”, enriching the content with in-depth analysis and distinctive comments. Whether you’re a cinema enthusiast or just curious about this modern fable, this review offers a detailed look at what to expect from the film.
