2023-12-27
N/A
101 min
In 1887, at a time when duels are in vogue in Paris, Clément Lacaze and Marie-Rose Astié meet. He's a charismatic master of arms; she's a feminist, far ahead of her time. Clément gets caught in a spiral of violence and decides to initiate Marie-Rose in the art of dueling. The two must work together to save face. How far will they go to defend their honor?
With the twentieth century looming, duelling was banned in France. However, as many still considered it the only honourable way to settle disputes between gentlemen, it still went on pretty much unfettered. Swordsmanship skills were still highly sought after, and one such master “Lacaze” (Roschdy Zem) attracted many to the school of his friend “Tavernier” (Guillaume Gallienne). His naive nephew, “Adrien” (Noham Edje), meantime, has taken a shine to a young lady and when that leads to an altercation with “Col. Berchère” (auteur Vincent Perez), it seems the latter man is determined to demand reparation. Facing a fairly hopeless task, he turns to his uncle for help, but what chance he can do much to help in the forty-eight hours allowed before the fight? On the other side of the city, feminist “Astié” (Doria Tiller) is fed up being told that she can’t wear trousers without a prefectorial edict! She writes pithy and sarcastic letters to the newspapers, but is usually derided by the likes the pompous publisher “Massat” (Damien Bonnard). Hearing of the duel, and of it’s subsequent result, she decides that there is no reason why women can’t demand satisfaction, so challenges “Massat”. Of course he cannot fight a woman, but this starts in motion a scheme that might see “Lacaze” exact his own form of retribution - one of a juicily humiliating kind. I quite enjoyed this dramatisation as it quite successfully ridiculed the sexism that existed at the time, and the nonsensical notions of “honour” amongst cowards, thieves and bigots. Tiller delivers engagingly as she mixes her politics with a sexy femininity and a decent right hook; Zem hasn’t much to say but maybe represents the last few remnants of what might once have been called chivalry and the production design provides for a convincing setting for épée, pistol and even the sabre to be rattled. There’s a tiny bit of romance, but not enough to intrude as we watch some occasionally quite impressive demonstrations of swordplay - complete with affectations, acrobatics and flamboyance.
