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True Story of Crime, and Trial by Combat in Medieval France Book by Eric Jager 2004

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Margarite accuses Jacques of sexually assaulting her.

This accusation has set off a chain of events that leads to a trial by combat between Jacques and Jean, Margarites husband to determine the truth of the accusations.

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King Charles VI, Crowned at age eleven in 1380, Inherited a loose patchwork of feudal territories, Many held by powerful relatives or overrun by enemy troops.

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Jacques denies the accusations and demanded a trial by combat. Since the accusations has been denied this results in the medieval practice: a physical duel between the accuser and the accused, with the entire belief that God will ensure that justice is served through the outcome of the fight.

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King Charles VI supports the trial by combat.

The king supports the trial by combat since it is a means of resolving the accusation of rape between Jacque LE Gris and JEan de Carrougues.

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Margarite seeks out support from her husband, Jean.

This event shows margarites courage to come forward with her accusations and justice the the legal social structures of that time. Jean's form of support sets the stage for the intense and dramatic trial by combat that follows.

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Jean is torn between the choice of his loyalty to Jacques and his commitment to Margerite.
As the trial by combat approaches, Jean must grapple with conflicting emotions and loyalties to Jacques and Margerite. He ultimately chooses to defend his wife's honor in the dual.

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Meredith Guthrie | Lancaster University

Medieval dramas often fail to deliver on big promises. The accusation could easily be levied at director Ridley Scott, whose credits include the lukewarm adaptation of (2010) and the epic, if dizzying, Kingdom of Heaven (2005). Scott is not known for great subtlety, and The Last Duel has all the hallmarks of his distinctive approach to historical drama: frenzied but well-paced scenes of violence, intensely atmospheric lighting, and a willingness to be flexible with historical reality for the sake of compelling storylines. Yet, unlike many of its counterparts in the wider cinematic canon, The Last Duel delivers in historic style.

This tripartite structure of differing perspectives underscores the difficult intersections of truth, identity, justice, and honour that is the essence of the film's more understated narrative momentum. The Last Duel isn't about the final altercation, and it isn't even about sexual violence. Those are the motifs used to illustrate how ego, reinforced by complacent social mores, forges victims out of bystanders. The film reinforces this at every turn by keeping Margeurite in the periphery. She is brought into focus only on strategically rare occasions, even in her own retelling. This is partly what makes the film so profoundly unsettling and exhausting to watch, and it is also perhaps why the film has not been entirely well-received. This isn't the story you want to be told.

Critics have been quick to compare it to the 1950 film , which tackled a similar narrative across multiple perspectives. While perhaps a fair point, the comparison risks consigning The Last Duel to something unremarkable. What The Last Duel brings to the cinematic table has as much to do with its position in the genre as it does with content. Medieval dramas are nearly always designed foremost to entertain, often relying on aesthetics when the substance proves elusive. That's not a justification for the potentially thorny questions that accompany a passive gaze. It is, however, the commercial reality of a genre in which historical accuracy is generally offered up as the sacrifice for grit and gallantry. Medieval and medieval-inspired period pieces generally encourage audiences to revel in the space between what is familiar, what is foreign, and what is fantasy. By contrast, this film will not permit you to retreat into the fanciful spaces of your imagination; it will make you uncomfortable for a host of reasons. This is the film's greatest strength. The Last Duel doesn't dress up twentieth-century sensibilities in a cheap suit of armour. Rather, the filmmakers managed to find the right episode in medieval history to illustrate a regrettably timeless reality.

Of course, many scenes have been fictionalised for the purposes of a coherent narrative, but it is remarkable what the film extracts directly from historical sources. Credit must go to Eric Jager, the author of The Last Duel: A True Story of Crime, Scandal, and Trial by Combat in Medieval France (2004), the nonfiction book that explores this episode in French history, and a consultant for the film. Jager, a professor of medieval literature at UCLA, draws from legal records that illuminate the court proceedings that supplement the chroniclers' accounts. Medieval experts may bristle at how the film adopts much of its plotline in accordance with the chronicler Jean Froissart, who was not present at the duel. Froissart expounded-and potentially embellished-the duel in greater detail. Margeurite's sentencing and presence at the arena, for example, are only in Froissart's retelling. Froissart also set the duel in Paris, while the monk of St Denis, a more likely eyewitness, correctly placed the duel just outside the city at St Martin-des-Champs. The contemporary sources are also far more sceptical of Jean Le Gris' guilt, but the filmmakers (wisely) did not make this an ambiguous point. Since the contemporary records are not consistent, the question of historical accuracy can be difficult to assess, but the film certainly has historical integrity.

There are ample recent examples of medieval dramas that have completely neglected elementary historical facts to meet the audience's expectations, often with some of the era's most notable and well-documented figures. Yet The Last Duel reflects an awareness of the written record of the period, and the additions and adaptations point to defined creative aims that are not meant to subvert historical understanding. That's worth something. A 2019 survey by the American Historical Association noted that the public is far more apt to learn history from resources that could be consumed passively, and fictional TV and film ranked second behind documentaries. Audiences want more, and they want to be told the truth (where the truth can be told). Filmmakers and historians should continue trying to bridge the gap between education and entertainment and make transparency part of the experience for curious viewers. There is a lot of opportunity to make good on those promises that have- more often than not- been left broken. In this sense, The Last Duel serves as a worthy example for others to follow.

Chronique du Religieux de Saint-Denys, ed. M.L. Bellaguet, v. 1 (Paris: Crapelet, 1839)

Jean Froissart, Chronicles of England, France, Spain, and the Adjoining Countries , Vol 2, trans. Thomas Johnes (London: Henry G Bohn, 1857). See pp 203-205 for the full account.

Lindy Grant, Blanche of Castille, Queen of France (New Haven: Yale University Press, 2017)

Eric Jager, The Last Duel: A True Story of Crime, Scandal, and Trial by Combat in Medieval France (Arrow Books, 2006)

Christine de Pizan, The Book of the City of Ladies , trans. Rosalind Brown-Grant (Harmondsworth: Penguin Classics, 1999)

The Last Duel , dir. By Ridley Scott (20th Century Studios, 2021), online film recording, Disney +

Meredith Guthrie is a doctoral researcher at Lancaster University, researching the role of bishops in English government during the fourteenth century. She is supervised by Dr Sophie Ambler and Dr Alex Metcalfe.

Meredith Guthrie | Lancaster University

Medieval dramas often fail to deliver on big promises. The accusation could easily be levied at director Ridley Scott, whose credits include the lukewarm adaptation of (2010) and the epic, if dizzying, Kingdom of Heaven (2005). Scott is not known for great subtlety, and The Last Duel has all the hallmarks of his distinctive approach to historical drama: frenzied but well-paced scenes of violence, intensely atmospheric lighting, and a willingness to be flexible with historical reality for the sake of compelling storylines. Yet, unlike many of its counterparts in the wider cinematic canon, The Last Duel delivers in historic style.

This tripartite structure of differing perspectives underscores the difficult intersections of truth, identity, justice, and honour that is the essence of the film's more understated narrative momentum. The Last Duel isn't about the final altercation, and it isn't even about sexual violence. Those are the motifs used to illustrate how ego, reinforced by complacent social mores, forges victims out of bystanders. The film reinforces this at every turn by keeping Margeurite in the periphery. She is brought into focus only on strategically rare occasions, even in her own retelling. This is partly what makes the film so profoundly unsettling and exhausting to watch, and it is also perhaps why the film has not been entirely well-received. This isn't the story you want to be told.

Critics have been quick to compare it to the 1950 film , which tackled a similar narrative across multiple perspectives. While perhaps a fair point, the comparison risks consigning The Last Duel to something unremarkable. What The Last Duel brings to the cinematic table has as much to do with its position in the genre as it does with content. Medieval dramas are nearly always designed foremost to entertain, often relying on aesthetics when the substance proves elusive. That's not a justification for the potentially thorny questions that accompany a passive gaze. It is, however, the commercial reality of a genre in which historical accuracy is generally offered up as the sacrifice for grit and gallantry. Medieval and medieval-inspired period pieces generally encourage audiences to revel in the space between what is familiar, what is foreign, and what is fantasy. By contrast, this film will not permit you to retreat into the fanciful spaces of your imagination; it will make you uncomfortable for a host of reasons. This is the film's greatest strength. The Last Duel doesn't dress up twentieth-century sensibilities in a cheap suit of armour. Rather, the filmmakers managed to find the right episode in medieval history to illustrate a regrettably timeless reality.

Of course, many scenes have been fictionalised for the purposes of a coherent narrative, but it is remarkable what the film extracts directly from historical sources. Credit must go to Eric Jager, the author of The Last Duel: A True Story of Crime, Scandal, and Trial by Combat in Medieval France (2004), the nonfiction book that explores this episode in French history, and a consultant for the film. Jager, a professor of medieval literature at UCLA, draws from legal records that illuminate the court proceedings that supplement the chroniclers' accounts. Medieval experts may bristle at how the film adopts much of its plotline in accordance with the chronicler Jean Froissart, who was not present at the duel. Froissart expounded-and potentially embellished-the duel in greater detail. Margeurite's sentencing and presence at the arena, for example, are only in Froissart's retelling. Froissart also set the duel in Paris, while the monk of St Denis, a more likely eyewitness, correctly placed the duel just outside the city at St Martin-des-Champs. The contemporary sources are also far more sceptical of Jean Le Gris' guilt, but the filmmakers (wisely) did not make this an ambiguous point. Since the contemporary records are not consistent, the question of historical accuracy can be difficult to assess, but the film certainly has historical integrity.

There are ample recent examples of medieval dramas that have completely neglected elementary historical facts to meet the audience's expectations, often with some of the era's most notable and well-documented figures. Yet The Last Duel reflects an awareness of the written record of the period, and the additions and adaptations point to defined creative aims that are not meant to subvert historical understanding. That's worth something. A 2019 survey by the American Historical Association noted that the public is far more apt to learn history from resources that could be consumed passively, and fictional TV and film ranked second behind documentaries. Audiences want more, and they want to be told the truth (where the truth can be told). Filmmakers and historians should continue trying to bridge the gap between education and entertainment and make transparency part of the experience for curious viewers. There is a lot of opportunity to make good on those promises that have- more often than not- been left broken. In this sense, The Last Duel serves as a worthy example for others to follow.

Chronique du Religieux de Saint-Denys, ed. M.L. Bellaguet, v. 1 (Paris: Crapelet, 1839)

Jean Froissart, Chronicles of England, France, Spain, and the Adjoining Countries , Vol 2, trans. Thomas Johnes (London: Henry G Bohn, 1857). See pp 203-205 for the full account.

Lindy Grant, Blanche of Castille, Queen of France (New Haven: Yale University Press, 2017)

Eric Jager, The Last Duel: A True Story of Crime, Scandal, and Trial by Combat in Medieval France (Arrow Books, 2006)

Christine de Pizan, The Book of the City of Ladies , trans. Rosalind Brown-Grant (Harmondsworth: Penguin Classics, 1999)

The Last Duel , dir. By Ridley Scott (20th Century Studios, 2021), online film recording, Disney +

Meredith Guthrie is a doctoral researcher at Lancaster University, researching the role of bishops in English government during the fourteenth century. She is supervised by Dr Sophie Ambler and Dr Alex Metcalfe.

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Review: The Last Duel and the future of medieval dramas

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Medieval dramas often fail to deliver on big promises. The accusation could easily be levied at director Ridley Scott, whose credits include

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THe trial by combat has a set date to take place.

The set date for the trial by combat intensifies the anticipation and tension surrounding the confrontation between Jean and Jacques, with the outcome holding significant consequences.

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Margerite brings up the challenges of being a woman in a male-dominated society. She highlights the limitations and injustices she faces due to her gender. This introspection sheds light on the societal norms and power dynamics at play during the time period.

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Jean struggles with his decision to support Jacques in the duel. He is torn between his loyalty to his friend and his belief in his wife's accusations. This internal conflict adds complexity to the narrative and underscores the personal stakes involved in the trial by combat.

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Tensions between the characters escalate as the trial begins to approach. As the trial approaches, tensions between the characters escalate, creating a palpable sense of anticipation and conflict. The mounting pressure and emotional intensity set the stage for the climactic showdown, where the fates of the characters hang in the balance.

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Margerite seeks Justice and validation for her claims and is determined to have her voice heard and her honor restored. She bravely stands up against societal norms and expectations to fight for her truth.

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The Last Duel

A True Story of Crime, Scandal, and Trial by Combat in Medieval France

Eric Jager (View Bio)
Hardcover: Broadway Books, 2004.

A New York Times Best Seller!

An ABA Book Sense Pick * * * Shortlisted for the Crime Writers' Association Gold Dagger for Non-Fiction

"The audience chuckled nervously, and they were right to react that way. This bit sums up the identity crisis at the heart of not only the Oscars but big-screen entertainment itself. Once upon a time, a movie such as The Last Duel would have been both a legitimate awards-season contender and potentially a big hit with audiences. It has huge stars (Matt Damon and Ben Affleck) and younger audience favorites (Adam Driver and Jodie Comer). It has big action set pieces that play well on a huge screen. The titular duel, which two of the main characters fight to resolve a rape allegation by the third, is one of the most-rousing, stomach-churning sequences in recent memory. The film's treatment of sexual violence is topical, but not exactly predictable. And it has a pedigree, Scott having earned box office and Oscar gold with the similar "Gladiator" while Damon and Affleck reteamed for their first screenplay since the Oscar-winning "Good Will Hunting." But, as Ross Douthat noted in a long essay for the New York Times last week, The Last Duel is the sort of movie that has fallen out of favor with audiences as movies recede from the national conversation. "Much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today," Douthat writes. "There's no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences." Something big and original and mildly challenging such as The Last Duel has no place in a multiplex dominated by superheroes and other intellectual-property-driven tentpole franchises. Covid-19 may have accelerated these changes, but the combination of ballooning budgets and the reliance on foreign markets to recoup said budgets meant that movies such as The Last Duel were on borrowed time anyway. The problem is that the movie business doesn't have any idea what's going to replace movies such as The Last Duel either at the box office or in the awards ecosystem.... And while I may have taken great pleasure in seeing the wonderful Zack Snyder dominate the fan favorite categories instituted in a panicked effort to recapture fleeing audiences, the rushed and hushed announcement of those wins was indicative of the show writ large. It was a mess, grasping for relevance with general audiences, and annoyingly contemptuous of cinematic art even before the slap happened. So, no: The Last Duel wasn't seen by very many people. But those given the task of guiding Hollywood's most important night should be lamenting that fact, not shoveling dirt on their own graves." - Sonny Bunch, The Washington Post (Read the full review)

"An accusation of rape in 1386 occasions this high-suspense account of a duel to the death sanctioned by the French Parlement and King Charles VI - and attended by thousands of eager spectators. Jager spins a complicated and sanguinary tale with the skill of an accomplished thriller author. The story involves two squires, once fast friends, who were gradually estranged as one, Jacques LeGris, rose in favor with the king and their local count while the other, Jean de Carrouges, fell. Jager ably illuminates Carrouges's jealous, irascible temperament and LeGris's superior political skills. Carrouges lost his wife and son to illness, married the much younger, very beautiful, and wealthy Marguerite de Thibouville, and eventually earned his knighthood in service of the king. But after Carrouges returned from a long absence, Marguerite told him that one day, when she was virtually unattended, LeGris arrived with a friend to offer his sexual services; when she refused, she claimed, he brutally raped her. Carrouges immediately looked for legal redress and initiated the process that eventually led to trial by combat before a silent crowd. (Silence was customary, and both participants and onlookers believed that God would allow the truthful combatant to prevail.) Jager knows his territory well; we learn a good deal about medieval armor and weaponry, fashion and custom, the legal system and sexual ideas, court politics and religion. His skillful prose quickly ensnares readers in the web of the characters' invention, allowing no escape until very near the end. By the time the combat begins, halfway through the text, the tension is nearly unendurable. Who will win? Carrouges stood to lose more than his life: defeat would automatically consign his wife to the flames as a perjurer. Sex, savagery, and high-level political maneuvers energize a splendid piece of popular history." - Kirkus Reviews (starred review)

"On Saturday, December 29, 1386, two men faced on another across a large enclosed field behind a Parisian monastery. Watched by the French king and thousands of his subjects, they were to fight with lance, axe, sword and dagger until one killed the other. The aim of the duel was to establish which man was telling the truth. The down-at-heel knight Jean de Carrouges had accused the wealthy squire Jacques Le Gris of raping his wife, a charge the squire denied. Just to add extra spice to the confrontation, if de Carrouges lost, his wife's life would be forfeit, too. She would be burnt alive. Jager's book succeeds brilliantly in combining page-turning intensity - the reader wants very much to know who wins - with eye-opening insights into the bizarre ritual of judicial combat in the Middle Ages." - The Times (London)

"Jager deftly blends this story with the background necessary to understand it: the ideas behind trial by combat, the realities of 14th-century marriage, the complexity of the regional and central powers in France, and the personal rivalries at court. Jager describes a harsh and violent era, when public executions were a form of entertainment and both commoners and elites eagerly anticipated the increasingly rare duel to the death. But it was also a time of lawyers, chroniclers and ceremony. Jager doesn't condescend to the people of medieval France but explains the complicated logic by which they could believe that a duel would prove guilt or innocence, pregnancy could be considered proof that sex had been consensual, and a lady could be convicted and executed as a false accuser if her champion lost. A brief history of the duel demonstrates its origins in age-old military tradition rather than divine providence. Jager acknowledges where the definitive facts of his story are unknown while presenting a riveting account that will satisfy general readers and historians alike." - Publishers Weekly

"Breathes astonishing vigor, realism and a remarkable modernity into a celebrated trial by combat.... A taut page-turner with all the hallmarks of a good historical thriller: superb pacing, plot twists, dramatic tension and a fully fleshed cast of characters. Most impressive in The Last Duel's depiction of a scandal that was endlessly debated all over medieval France is our realization that although history hurls us forward in perpetual change, human nature remains relatively untouched by time.... The nail-biting narration of the duel itself and its tragic aftermath sets in motion the outlawing of judicial duels, one death-knell in the demise of the feudal world that allowed the highest degree of civility to coexist with the coldest cruelties. Jager's spectacularly rendered portrait of the end of an era desperately in need of approaching Renaissance is not a glimpse into the past but an enriching total immersion." - Orlando Sentinel

"Jager provides an excellent depiction of feudal society, placing the reader into the lives of knights and nobles, detailing their relationships to each other and to their lords.... The story of the duel and of the rivalry leading up to it make for quick reading as enthralling and engrossing as any about a high-profile celebrity scandal today." - Booklist

"A vivid re-creation of 'the last judicial duel sanctioned by the Parlement of Paris' and a painstakingly documented picture of courtly love, pride, dishonor, and judgment in 14th-century France." - Library Journal

"A gripping account of sex and violence." - Pages

"Genuinely suspenseful and well-written." - Spectator (London)

"In medieval France, just as in modern America, suing and being sued was a favorite pastime. Then as now, property was the main bone of contention but in Eric Jager's THE LAST DUEL, sex, violence, and warm friendship turned to bitter hatred are the motivations behind one of history's most engrossing thrillers where the outcome of the case was decided not by judge and jury but by judicial combat to the death.... THE LAST DUEL is popular history at its very best. Thanks to the skillful recreation and meticulous research by author Eric Jager, in a story told here for the first time, medieval men and women come alive in scenes straight from today's tabloid headlines - and thensome. Jager manages to encapsulate the complex world of 14th century France into a manageable backdrop for staging the heart of the story, a human drama made all the more thrilling for the fact that it is truth, not fiction." - The Advocate

"One of the year's most intriguing histories." - Santa Cruz Sentinel

"All the ingredients for a historical novel.... Members of the nobility enmeshed in a quagmire of hearsay and accusations.... Sex, violence, political scheming that went to the highest levels.... Jager tells [the story] simply, yet with eloquence and some verve." - Wichita Falls Times Record News

"This is the best book about a single historical duel I've yet read.... Complete with all the assorted social intrigue, gossip, and politics it flows like a good thriller novel. The reader must resist the temptation to skip ahead and see how it ends and instead let the tension build. It definitely pays off at the end. For once a historian also manages to get it right when it comes to descriptions of the arms and armor as well as the combat itself. In this regard, Jager, a Professor of English at UCLA, is refreshing in the respect and attention he pays to these elements, refusing to gloss over them in favor of less martial aspects.... A readable and suspenseful work." - ARMA: The Association for Renaissance Martial Arts

"If you read only one book about the Middle Ages, Eric Jager's thriller is the one to read." - Steven Ozment, author of The Bürgermeisters Daughter

"Eric Jager uses the historical record to marvelous effect when recounting the riveting story of two men locked in mortal combat, a squire and a knight, from Normandy, a region steeped for centuries in violence and political intrigue. With a masterful hand, he recreates with psychological elegance the mentalities of two very different men - one a social climber from humble origins who rose in the social and political ranks through his cleverness and political ambition to become a court favorite and squire and the other a land-holding knight of the Norman aristocracy, impolitic and contentious, attracted to war and adventure. Two worlds duel in this fascinating portrait of an end of an age - the feudal aristocracy and the chivalric court - and who we deem the true victor is brilliantly left open to interpretation in Jager's engrossing tale." - Margaret F. Rosenthal, author of The Honest Courtesan

"An enthralling story that reads like fiction but is based on reliable sources. A world of passion, cruelty, and mismanaged law." - Norman Cantor, author of Inventing the Middle Ages

Back to Top

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Eric Jager (View Bio) Hardcover: Broadway Books, 2004. A New York Times Best Seller! An ABA Book Sense Pick * * * Shortlisted for the Crime Writers' Association Gold Dagger for Non-Fiction "The audience chuckled nervously, and they were right to react that way.

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Jacques is determined as he prepares for the trial by combat. He has been training rigorously and mentally preparing himself for the high-stakes confrontation. His determination and confidence in his skills as a fighter drive him forward in the face of the impending duel.

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Jean grapples with his own sense of honor and duty with the duels coming up. He is torn between seeking justice for his wife and upholding his sense of chivalry. He must navigate his personal beliefs and societal pressures as he prepares to face Jacques in combat.

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Thirteenth Experience: Tensions and Duels

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Thirteenth Experience: Tensions and Duels

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The day of the duels have arrived and tensions are palpable. On the day of the duels, tensions are palpable as the combatants and spectators gather to witness the dramatic showdown. The atmosphere is charged with anticipation and uncertainty as the fate of the participants hangs in the balance.

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The combatants face of in a dramatic and intense showdown. Each combatant is driven by their own motivations and beliefs. The duel unfolds with high stakes and emotional intensity, culminating in a climactic confrontation that will determine the outcome of the trial by combat.

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Historical Accuracy (Q&A):

Did Jean de Carrouges have a wife prior to his marriage to Marguerite?

Yes. The Last Duel true story reveals that prior to his marriage to Marguerite de Thibouville in 1380, Jean de Carrouges had been married to Jeanne de Tilly, the Lord of Chambois' daughter. The two were married in the early 1370s. Jeanne gave birth to a son not long after their wedding. Carrouges' friend and neighbor, Jacques Le Gris, was chosen to be the boy's godfather. In the late 1370s, tragedy struck the family when both Jeanne and their son died of unknown natural causes, likely illness. To help channel his grief, Carrouges left home to fight the English under the command of Jean de Vienne in a five-month campaign. -Eric Jager

Is Ben Affleck's character, Count Pierre d'Alençon, based on a real person?

Yes. Like in The Last Duel movie, the true story confirms that Pierre d'Alençon (portrayed by Ben Affleck) was the cousin of King Charles VI and the overlord of both Jean de Carrouges (Matt Damon) and Jacques Le Gris (Adam Driver). Count Pierre had inherited the county of Perche from his brother Robert and with it the fealty of his brother's vassals, including Carrouges and Le Gris.

Were Jean de Carrouges and Jacques Le Gris friends before they became rivals?

Yes. As indicated earlier, the two men were initially neighbors and friends. However, after both men joined the court circle of their new overlord, Count Pierre d'Alençon, their friendship deteriorated when the Count began to favor Jacques Le Gris (played by Adam Driver) and overlooked Jean de Carrouges (portrayed by Matt Damon). In researching The Last Duel's historical accuracy, we learned that Le Gris brought in more money and was educated, making him more valuable to the court. The Count rewarded Le Gris' service on the court with a newly purchased estate at Aunou-le-Faucon. Le Gris also inherited his father's lordship of the castle at Exmes. This made Carrouges jealous of Le Gris and they became rivals on the court.

Though actor Adam Driver is more than ten years younger than Matt Damon, who is in his early fifties, the real Le Gris and Carrouges were both in their mid-fifties and approximately the same age.

It's true that Jacques Le Gris and Jean de Carrouges were friends before they became enemies.

Did Jean de Carrouges sue his overlord, Count Pierre d'Alençon?

Yes. By marrying Marguerite de Thibouville, who at the time was described as "young, beautiful, good, sensible and modest," Jean de Carrouges hoped to inherit the valuable estate of Aunou-le-Faucon that had been previously owned by Marguerite's father. This was the estate that Count Pierre d'Alençon had given to Jacques Le Gris. Carrouges felt that he was entitled to the valuable piece of property based on his father-in-law's previous claim. His lawsuit was undoubtedly fueled by his jealousy of Le Gris. Count Pierre went to his cousin, King Charles VI, to officially confirm his ownership of Aunou-le-Faucon and his right to give it to Le Gris. Carrouges lost the suit and further strained his relationship with Count Pierre's circle. -Eric Jager

Is The Last Duel based on a book?

Yes. The movie is based on Eric Jager's 2004 book The Last Duel: A True Story of Trial by Combat in Medieval France. Jager is an English professor at UCLA. The book also inspired a similarly titled 2008 drama-documentary that chronicled the Jean de Carrouges duel, which aired on BBC Four.

The Last Duel movie was inspired by Eric Jager's 2004 book of the same name.

Did knight Jean de Carrouges charge squire Jacques Le Gris with raping his wife?

Yes. The Last Duel true story confirms that the charge, to which Le Gris denied, is what led to the Jean de Carrouges and Jacques Le Gris' duel. The circumstances surrounding the rape unfold in the movie much like author Eric Jager describes it in the book. Carrouges had set off on a trip to Paris and his wife Marguerite was home alone on the morning of January 18, 1386. Her mother-in-law had left to tend to legal business in a neighboring town and took almost all of the servants with her.

According to Marguerite, a man-at-arms named Adam Louvel showed up at the chateau door asking about a loan he owed her husband. He then told her that Jacques Le Gris was outside and insisted on seeing her. When she refused, Louvel pleaded, telling her that Le Gris loved her and "will do anything for you and he greatly desires to see you." Marguerite tried to deny them access but Le Gris forced his way into the home. He propositioned her, telling her he would pay her to keep silent of the affair. When she said no, he violently raped her with the help of Louvel and told her that he'd kill her if she spoke of what happened. When her husband returned several days later, she told him of the attack. Carrouges decided to bring legal charges against Le Gris.

Did squire Jacques Le Gris rape the wife of knight Jean de Carrouges?

The truth of whether squire Jacques Le Gris raped Marguerite de Carrouges, the wife of Norman knight Jean de Carrouges, is unknown and has been a subject of debate among historians and jurists. Jacques Le Gris lawyer, Jean Le Coq, who was almost certainly an eyewitness to the duel, recorded his thoughts on the case in a personal notebook, the text of which has endured through the ages. While he did outline arguments that supported his client, he also expressed private doubts regarding the innocence of Le Gris. While facing death at the end of the judicial duel, Le Gris never admitted to the charge. However, confessing would have damned him to the same fate. -HROARR

The author of The Last Duel book, Eric Jager, told the podcast Most Notorious that while at first he had doubts regarding Marguerite's claims, he changed his mind after reading the court records, especially her testimony. "I remain very much one of those who believes Marguerite's story," said Jager, "but there is a lot we don't know about this case, and people will inevitably make up their own minds."

Why did Jean de Carrouges want a trial by combat?

The Last Duel fact-check confirms that Carrouges felt that the initial legal proceedings were heavily tilted against himself and his wife. Count Pierre d'Alençon, who was an ally of Jacques Le Gris, presided over the local trial. Carrouges had such little faith that he would receive a just outcome, neither he nor his wife showed up at the proceedings. Furthermore, the word of Marguerite, the only witness, carried little weight in this time period. As expected, Count Pierre dropped the charge against Le Gris. In response, Carrouges went to Paris and appealed directly to King Charles VI.

Knowing that his wife Marguerite de Carrouges' testimony didn't carry much weight, he decided to appeal to the King and the French court for the necessity of a judicial duel, also known as a trial by combat. On July 9, 1386 at the Palais de Justice in Paris, Jean de Carrouges and Jacques Le Gris presented themselves to Parliament to issue the formal challenge. A gauntlet was thrown down to symbolize their desire to fight. The King and the Parliament of Paris decided that they would first hear the case as a regular criminal trial, and they would later decide on whether to grant a trial by combat after both sides had provided their testimony.

The lengthy criminal trial lasted most of the summer. Le Gris accused Carrouges of inventing the accusation out of jealousy and anger. It was also suggested that Marguerite had imagined the attack or that it was a case of mistaken identity. Carrouges reasoned that it didn't make sense for him to make up the allegation, seeing how the trial had brought shame to his family. He also poked holes in Le Gris alibi by proving that the fifty-mile roundtrip was possible on horseback. Further compromising Le Gris' alibi was the fact that the man providing it, squire Jean Beloteau, was arrested for rape in Paris during the trial. In the end, the Parliament of Paris was unable to determine guilt in the case. As a result, they permitted the judicial duel to take place, which were rare by 1386. The idea was that God would decide guilt and innocence by whoever was left standing at the end of the duel. As Carrouges (Matt Damon) says in the movie, "One of us has lied. Let us let God decide."

Did the alleged rape of Marguerite de Carrouges result in a pregnancy?

According to Eric Jager's book The Last Duel, the alleged rape of Jean de Carrouges' wife Marguerite happened on January 18, 1386. By the time the criminal trial was underway in the summer of that year, Marguerite was noticeably pregnant. While this should have added weight to Marguerite's claim, it did not. According to medical knowledge at the time, children could not be conceived out of rape, therefore Marguerite's physical state was determined to have no relevance to the case.

By the time of her husband Jean de Carrouges' duel in late December, Marguerite's son Robert had been born. He was a healthy baby boy. During our investigation into The Last Duel's historical accuracy, we discovered that French Queen Isabeau of Bavaria, who is portrayed by Serena Kennedy in the movie, had also given birth to a boy during that time, but the baby was sickly and died the day before the duel.

Is it true that Jean de Carrouges' wife, Marguerite de Carrouges, would be burned at the stake if her husband lost the duel?

Yes. The idea was that if her husband lost the duel, the outcome would "prove" that Marguerite was guilty of perjury, meaning that her claim that she was raped would be considered a lie. She would then be immediately taken to Montfaucon and burned at the stake.

Where did Jean de Carrouges and Jacques Le Gris' duel take place?

As depicted in the Ridley Scott movie, The Last Duel true story affirms that the real trial by combat took place next to an inside wall of the Priory of Saint-Martin-des-Champs, an important monastery that was located in what is today the city of Paris. At the time, it was located outside the walls of the city, hence it being referred to as "des champs" (in the fields). The priory's surviving buildings have been home to the Museum of Arts and Crafts (Musée des Arts et Métiers) since 1802. A historical rendering of The Last Duel's real-life location is displayed below, along with an image of one of the surviving buildings.

The real duel took place inside one of the outer walls of the Priory of Saint-Martin-des-Champs (bottom), a monastery located in what is now Paris, France. At the top is one of the remaining buildings that make up the western facade. Bottom Image: Karl Fichot, 1850

Was King Charles VI present at the duel between Jean de Carrouges and Jacques Le Gris?

Yes. There is little dispute over whether or not the King was at the December 29, 1386 duel. The two contemporary historical accounts of the duel that are considered the most reliable (because they were likely eyewitness accounts) mention the King being present, and we found no accounts denying it. In fact, according to the writings of the Monk of Saint-Denis, the King's official historian, the duel was initially set for November 27, 1386. However, as stated in Eric Jager's book, King Charles VI was delayed on his return trip to Paris due to bad roads in Flanders. He sent a messenger to Paris, ordering that Jean de Carrouges' duel be postponed a month so that he would be able to attend. It was then rescheduled for December 29, 1386. The King's family was present, including several royal dukes. Many of the most esteemed French nobles were in attendance as well, along with thousands of ordinary French citizens. It's true that the King, who came to the throne when he was 11, was 18 at the time of the duel and still rather young.

Was Marguerite de Carrouges present at the duel?

In Eric Jager's book, Marguerite is dressed in black and sitting in a carriage overlooking the field. However, in the personal notes of Jacques Le Gris' lawyer, Jean Le Coq, who was likely an eyewitness, he states that the wife of Jean de Carrouges "was brought in a cart, but swiftly sent back by order of the King." Therefore, it is unlikely that the real Marguerite saw the duel. The movie places her even closer for dramatic effect.

Was Jean de Carrouges sick at the time of the duel?

While carrying out The Last Duel fact-check, we discovered that two of the most trusted contemporary historical texts that describe the duel mention that Carrouges (Matt Damon in the movie) was weak because of fevers. Jean Le Coq, the lawyer of Jacques Le Gris who likely witnessed the duel, stated that "even though Carrouges was weak because of fevers, he himself said they helped him."

Was Jacques Le Gris made a knight just before the duel began?

Yes. The personal notes of Le Gris' lawyer, Jean Le Coq, describe him as being made a knight "a little before he entered the field." The idea was that if Le Gris was made a knight, then the two men would be of equal standing during the fight.

It's true that Jacques Le Gris was knighted just prior to the duel starting.

Did the real-life duel unfold like it does in the movie?

No. There are five contemporary historical texts that describe the duel. Two of those texts, one written by the Monk of Saint-Denis, Michel Pintoin, and the other written by Jacques Le Gris' lawyer, Jean Le Coq, are likely firsthand accounts and are considered to be the most accurate. Pintoin was King Charles VI's official historian and was often at the King's side.

In The Last Duel movie and book, the battle begins with a joust. However, both Pintoin and Le Coq describe Jean de Carrouges and Jacques Le Gris as "abandoning their horses as soon as the marshal gave the signal for mutual attack." Le Coq stated that some people thought the lists (the barriers built to enclose the jousting area) were too small for lance combat, stating that "they had been made for two men who fought on foot and not on horses."

In the less reliable text of Jean Froissart, a contemporary of Carrouges and Le Gris, he states that the two men "jousted for the first engagement, but nothing was forfeited." His book that contained the account was published in 1390, less than four years after the duel took place. However, Froissart was living in the Netherlands at the time and was not present for the fight. He heard the story later from unknown sources. Of the five medieval texts that describe the duel, Froissart's is the only one that mentions a joust. To enrich the scene, Eric Jager, author of The Last Duel, quotes Froissart's account of an entirely different event, the Saint-Inglevert jousts of 1390.

With the two most reliable accounts describing the duel as unfolding entirely on foot, the account of Michel Pintoin, King Charles VI's official historian, states that the duel began with the two men holding their "threatening swords lowered" as they approached each other. In the first attack, Jacques Le Gris pierced Jean de Carrouges in the thigh with his sword (In the movie, Le Gris stabs Carrouges in the thigh with the broken-off tip of a jousting lance). Instead of pressing the sword in deeper, Le Gris immediately drew it out. Blood emerged from the wound, which grabbed the attention of the crowd. Pintoin said that despite Carrouges' wound, "it increased his courage rather than his confusion."

He then describes Carrouges as stepping in closer, grabbing Le Gris by the helmet, and throwing him to the ground face down. In the book, Eric Jager says that either the weight of Le Gris armor, exhaustion from fighting, or the shock of being thrown to the ground kept Le Gris from rising to his feet. However, the weight of Le Gris' plate armor alone would not have kept him from getting up. Pintoin states that Carrouges killed his enemy "with great difficulty" due to the armor. We know that it took some time for Carrouges to kill Le Gris due to the fact that Carrouges had time to demand that Le Gris confess to the rape and Le Gris had time to maintain his innocence. The gruesome nature of the battle may be one reason why the Parliament of Paris never sanctioned another judicial duel. -HROARR

Did the duel include an axe fight?

Jean de Carrouges (Matt Damon) fighting Jacques Le Gris (Adam Driver) with an axe is unlikely to have occurred in real life, as it does not appear in any of the five contemporary historical texts that describe the duel. Of everything that unfolds during the duel between Carrouges and Le Gris in the movie, this is arguably the least historically accurate element.

Did Jean de Carrouges' horse die during the duel?

No. This appears to be movie fiction that was drawn from a fictional element in Eric Jager's book The Last Duel. King Charles VI's official historian, Michel Pintoin, who was likely at his side and observed the duel, wrote that the two men "abandoned their horses" at the start of the battle. Jean Froissart, who was living in the kingdom of the Netherlands at the time, wrote about the duel several years after it took place and stated that the two men "arranged themselves on foot" after first being on their horses. None of the contemporary historical accounts of the duel mention either of the horses dying during the duel.

Jacques Le Gris and Jean de Carrouges likely did not kill or injure each other's horses during the duel.

Did the two men hold shields during the duel?

It's possible that the two men held shields during the fight, but it seems unlikely given that Carrouges had his sword in his right hand and grappled Le Gris with his left hand, throwing him to the ground. Eric Jager's book describes the lance heads being buried in the shields during the joust. The shields are then damaged more when they are hacked at in the book's almost-certainly-fictional equestrian axe battle. Even if we were to take Jager and the movie's account as fact, the shields would not have magically regenerated for the sword fight, as they seem to do in Jager's book.

Are the swords used during the duel accurate?

In his book, Eric Jager portrays Jean de Carrouges and Jacques Le Gris as using single-handed cutting and thrusting swords worn on their belts, which he somewhat confusingly refers to as "estocs." Most estocs (or tucks) that we've researched are two-handed. It seems just as possible that they would have been using longswords in 1386, especially given that they were fully armored. Specifically, these would have likely been standard 14th-century type XV arming swords. If they were indeed using longswords, it's also possible they were half-swording. This involves gripping the sword blade near the center with the opposite hand in order to deliver more forceful blows into an opponent's armor. -HROARR

Did the duel end with the two men ground fighting with daggers?

No, at least not according to the historians and observers who chronicled the duel. The King's official historian, the Monk of Saint-Denis, who is believed to have been present at the duel, said that after Jean de Carrouges grabbed Jacques Le Gris' helmet and threw him to the ground, "he drew his sword and killed his enemy with great difficulty, because he was encased in armour." It doesn't make sense that Carrouges would draw his sword at that point since he had already been fighting with it. However, it does make sense that he drew a second, smaller sword that would have been easier to use to finish off a downed Le Gris.

Breton historian Guy Alexis Lobineau wrote about a duel that took place nine days prior to the Carrouges and Le Gris duel. Legal documents from that duel state that each man was allowed to carry two swords, one longer and one shorter, so it makes sense that similar rules would have applied here as well.

The historical rendering at the top shows Jean de Carrouges finishing off Jacques Le Gris. Below, the scene is reenacted on The Last Duel set.

Did Jean de Carrouges lift Jacques Le Gris' visor and stab him in the throat?

Not likely. The most reliable historical accounts of The Last Duel true story do not mention Carrouges lifting Le Gris' visor and stabbing him in the throat. The book's author, Eric Jager, seems to possibly be drawing this from later, less reliable retellings. Revealing Le Gris' face certainly adds to the drama in the movie and book, especially since we know that Carrouges repeatedly demanded that Le Gris admit he raped Marguerite. Jager also describes Carrouges fumbling with the lock on Le Gris' visor, yet there is no evidence of such locks existing this early in history.

Was the body of Jacques Le Gris hung on public display after the duel?

Le Gris' lifeless body was reportedly taken to the gibbet (a structure or gallows from which dead or dying bodies were hung for public display) at Montfaucon located outside the walls of Paris. A historical rendering of the gibbet at Montfaucon is displayed below. Le Gris body was hung from chains where it was left to rot for the next several months as a reminder of the fate of rapists, liars, traitors, etc.

Jacques Le Gris' lifeless body was hung on display at the Gibbet of Montfaucon, shown here in this painting by Jean Fouquet from around 1460.

Was the duel between Jean de Carrouges and Jacques Le Gris the last officially recognized judicial duel held in France?

Yes. The December 29, 1386 duel between Norman knight Jean de Carrouges (Matt Damon in the movie) and Jacques Le Gris (played by Adam Driver) was the last officially recognized trial by combat in the jurisdiction of the Parliament of Paris. Judicial duels had already become rare by that point.

Did the victory help Sir Jean de Carrouges better his standing in life?

Yes. Carrouges' victory at the duel allowed him to rise financially and professionally. According to medieval historian Jean Froissart, Carrouges was awarded 1,000 francs along with a royal income of 200 francs per year. A few weeks after the fight, Parliament awarded him an additional 6,000 livres in gold and he was given the position of King Charles VI's royal squire.

His wife, Marguerite de Carrouges, was saved from a fate of being burned at the stake. Together, they became celebrities and extended their wealth by way of gifts and investments. In the years following the trial by combat, they had two more children. Jean de Carrouges died in battle fighting the Ottoman Turks roughly a decade after the duel.

Winning the duel allowed Jean de Carrouges to improve his stature. He became King Charles VI's royal squire.

Overall, how accurate is The Last Duel movie?

In order to determine the overall accuracy of Ridley Scott's The Last Duel, we have to look at the accuracy of author Eric Jager's book on which the movie was based. We know that various parts of Jager's book are fiction. In the author's note, he admits as much, stating, "Where the historical record is silent, I use my own invention to fill in some of the gaps." Jager's substantial lack of references and footnotes, in addition to his questionable understanding of the weapons and armor of that period, raises significant doubt around the book's overall historical accuracy. The book itself seems to take the level of creative license that is usually reserved for films.

Based on the most reliable medieval accounts describing the duel, the movie's version bears little resemblance to those historical texts. Jean de Carrouges and Jacques Le Gris almost certainly did not joust, nor did Le Gris kill Carrouges' horse. There's also no mention of an axe fight. Much like how the story of the duel itself seems to have been embellished over the years, the lengthy climactic duel in the movie and book draws from those accounts and is similarly dramatized for dramatic effect. The scenes that focus on the events surrounding the assault hue closest to history, as they were drawn straight from Marguerite de Carrouges' testimony.

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jean de carrouges and jacques le gris duel

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The Last Duel vs. the True Story of Jean de Carrouges' Duel

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We pit The Last Duel vs. the true story of Jean de Carrouges and Jacques Le Gris' duel. Get to know Marguerite de Carrouges and discover the historical accuracy of the duel.

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The outcome of the duel has far-reaching consequences for all that are involved. These results have shaped their futures and relationships in unexpected ways.

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Sixteenth Experience: Highlights of Margerite

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Sixteenth Experience: Highlights of Margerite

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Margerite strengths and resilience s have been highlighted throughout the entire trial. Her strengths and resilience are highlighted throughout the entire trial as she stands firm in her accusations against Jacques Le Gris. Despite facing societal pressure and skepticism, Marguerite remains steadfast in seeking justice for the alleged assault she endured.

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Jean de Carrouges' internal conflict comes to a head during the duel as he faces the ultimate test of his beliefs and convictions. The duel represents a culmination of Jean's struggle to defend his wife's honor, seek justice, and prove his own worth as a knight. The outcome of the duel not only determines the truth of Marguerite's accusations but also reveals the depth of Jean's character and the strength of his resolve.

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Eighteenth Experience: Aftermath & Shifts

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Eighteenth Experience: Aftermath & Shifts

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The aftermath of the trial brings about a shift in the dynamics between the characters. The dynamics between the characters undergo a significant shift. The outcome of the trial not only determines the guilt or innocence of the accused but also affects the relationships and power dynamics among the characters involved.

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Nineteenth Experience: Impacts all together

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Nineteenth Experience: Impacts all together

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The societal impact of the trial reverberates across the region, influencing perceptions of justice, honor, and the role of women in medieval society. The trial's outcome has far-reaching consequences that shape the future interactions and decisions of the characters and the community as a whole.

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The trial by combat leaves a lasting legacy in the lives of those involved. It serves as a dramatic climax in the story, showcasing the intense emotions, personal stakes, and societal expectations of the characters. The outcome of the trial by combat not only decides the fate of the accused but also has far-reaching consequences for the individuals and the community as a whole.

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https://www.npr.org/2021/10/15/1045633461/the-last-duel-movie-review

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The Last Duel is a sprawling, often ungainly movie - a talky, three-part Rashomon-style drama that mixes past and present-day politics - but there's a bracing intelligence to its messiness. It opens the way a lot of Ridley Scott period epics do, on a gloomy day with two sides preparing for battle.

We're in Paris in the year 1386, and the combatants are the dashing squire Jacques Le Gris - that's Adam Driver - and the sullen knight Sir Jean de Carrouges - that's Matt Damon. Jean's wife, Marguerite, played by Jodie Comer, watches anxiously from her seat. Just as the two men are about to clash lances, the movie cuts away and rewinds several years to show what brought these three characters to this moment.

There's a lot more rewinding to come. The Last Duel is based on a true story that it tells no fewer than three times, each time from a different character's perspective. The script, adapted from Eric Jager's nonfiction book, emerged from a unique collaboration among three writers. Damon and Ben Affleck wrote the first two chapters focusing on the men, while Nicole Holofcener wrote the third chapter centering on Marguerite. It's an ingenious approach to what plays like a medieval #MeToo story, tackling the dynamics of power, class and gender in an era when women were regarded as little more than male property.

The opening chapter focuses on Carrouges, played by Damon with a righteous scowl and a mullet so hideous it almost immediately turns you against him. Carrouges is a brave warrior from a long line of brave warriors, but also a proud, petty man with a chip on his shoulder. We first see him and Le Gris in 1370, fighting valiantly against the English and becoming close friends. But Carrouges begins to feel resentful when their superior - Count Pierre d'Alençon, a saucy libertine played hilariously by Affleck - takes Le Gris under his wing. The count even gives Le Gris a coveted piece of land that was originally intended for Carrouges as part of his wife Marguerite's dowry, leading to years of legal struggles.

Then one evening, Marguerite comes forward and tells her husband that while he was away, Le Gris came to their castle in Normandy and raped her. Carrouges takes the accusation public, setting in motion a duel between himself and Le Gris, which would become the last trial by combat officially recognized in France.

At this point, the first chapter ends and the movie returns to the beginning, this time replaying events from Le Gris' perspective. As one of the count's closest allies, Le Gris has come to enjoy a life of privilege and debauchery, and Driver basically plays him as God's gift to women. That stokes his tensions with Carrouges, who eventually is made a knight and demands that Le Gris show him respect.

Around this time, Le Gris falls madly in love with Marguerite and becomes certain that she reciprocates his feelings. That brings us to their fateful encounter, in which Le Gris convinces himself that Marguerite's protests are merely the signs of a guilty conscience. But even though the movie is showing us his version of events, it rejects his delusion completely: What we see is unmistakably a sexual assault, in which Marguerite repeatedly says no and tries to push him away.

The third chapter, which unfolds from Marguerite's perspective, revisits the rape scene, and for some viewers - fair warning - it may seem like one grueling replay too many, especially since Marguerite's trauma is now even more apparent. But this is also the chapter in which the moral arc of the story snaps into focus. After so much boorish male behavior, fully embodied by Damon and Driver, the fierce intelligence and humanity of Comer's performance is like a balm. Marguerite emerges as by far the most honest and clear-eyed of the movie's three leads, heroic in her refusal to stay silent about what she endured.

Near the end of the film, Marguerite finds herself on trial, forced to defend her rape allegation in a court full of men trying to discredit her. The sequence plays like dark satire, suggesting how much has changed and also how much hasn't. And then there's the duel, which feels almost subversively anticlimactic: It delivers all the gory virtuosity you'd expect from Ridley Scott, but something about it rings deliberately hollow. It hardly matters which man wins, the movie seems to be saying, in a world where women are destined to lose.

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'The Last Duel' is a 'Rashomon'-style #MeToo story - and a messy medieval epic

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Ridley Scott's epic, which opens in 1386 Paris, tells the story of a duel between a squire of a knight from three points of view - including that of the woman they're fighting over.