MovieChat Forums > The Duellists (1978) Discussion > Mysticism in 'The Duellists'

Mysticism in 'The Duellists'

posted 16 years ago by yohojohn
9 replies | jump to latest

After recently watchin "The Duellists" again I was struck by the subtle role that mysticism seems to play in the film. By mid-film, any reliance on ancient mysticism has been trumped by cold, hard reality.

Mysticism first appears when Dr. Jacquin (Tom Conti) tells D'hubert: "I spoke with a delightful old gentleman who affected to believe in the transmigration of souls. He suggested you had both been enemies in a previous incarnation."

Mysticism appears again when Laura (Diana Quick) visits the tarot reader in an attempt to decide whether to stay with D'Hubert or leave him because of the stress caused by his dueling. Laura's life seems to take a downturn after her tarot experience as if she has been cursed be her reliance on mystical impulses. We later learn she left D'Hubert, gets married, is quickly widowed, and finally is reduced to a life of begging and occassional prostitution in order to survive. Her own attempt at "seeing into the future" even fails. When Laura and D'Hubert meet one last time, she wrongly states that "This time he'll kill you." In reality D'Hubert survives and indeed triumphs, giving Feraud a nasty sabre cut across the forhead that prevents him from continuing the duel. Laura has become, in essense, a false prophetess.

The final appearance of mysticism occurs on the Russian steppe after D'Hubert and Feraud kill the cossacks. D'Hubert notices the frozen soldier sitting in the snow. He and we (the audience) come to realize that this is actor Maurice Colbourne who has served as Feraud's dueling "second" throughout the film. Even here, on the Russian wasteland, he mystically appeared again, even though in death, to serve as a Feraud's second in an apparently imminent duel. But reality in the form of cossacks suddenly intrudes. We don't even realize the "ressurected" dead second is there until after the cossacks have been dispatched and the possibility of a duel between D'Hubert and Feraud has evaporated. 20/20 hindsight seems to have triumphed over mystical precognition.

Perhaps, like the romanticism of Napoleon's wars, mysticism has run its course giving way to a more pragmatic outlook. "The King's army will have more realists than Royalists," explains D'Hubert at his wedding dinner.

Anyone else notice the mysticism angle? Do you think it contains a possible indictment against mysticism and the gradual turning away from religion by western civilization in the 19th century toward more objective reality?

[–] a-blackshaw 16 years ago

Didn't notice it at all but enjoyed your thread

[–] spisok_korablei 16 years ago

Your post was very interesting to read, thanks. I personally don't think that Scott's objective was to make some general conclusions about civilization trends. I see this story only on the level of personal conflict, this eternal battle that ceases for some time (till next reincarnation of glorious duelists I suppose) seems to me the only core of the film.

[–] yapisu2003 16 years ago

I can't say I see the mysticism line as a theme for the movie overall. Conti's doctor's mention of the transmigration comment seems more to show that his character had his ear close to the ground in Strasbourg. Maurice Colbourne's frozen corpse seems more a standard plot device. The "realist" versus "royalist" dichotomy takes place along political, as opposed to metaphysical, lines.

Most significantly, Laura's visit to the card reader, the one indisputable instance of mysticism, seems more to show support, rather than renunciation, of the tarot's precognitive powers. The first two cards clearly indicate that the old lady is on to something ("a quarrel carried on for its own sake" and "a difficult choice"). My assumption has always been that Lauara sought what was best for both herself and for d'Hubert. His death would be a tragedy for both of them. By leaving him, though this doomed herself, Laura saved d'Hubert by giving him the focus and the anger to endure the fight in the cellar. When she reappears before the cavalry duel, it is d'Hubert's rage at losing here that helps him defeat Feraud in that instance as evidenced by the flashbacks, particularly Laura snarling "kill!", not "he'll kill you". The tragic end to which Laura is condemned by leaving d'Hubert would have befallen her anyway had he been killed, but by heeding the advice of the cards and accepting the "path of solitude", she at least saved her lover's life.

[–] ozymandias312 15 years ago

Many good, insightful posts in this thread.

Ozy

And I stood where I did be; for there was no more use to run; And again I lookt with my hope gone.

[–] sampafelipe 15 years ago

great thread, and all make good points; cool tight, film!

[–] dario_van_kuschn 15 years ago

Good post.
I did not realize the frozen guy was Feraud's second.

[–] HerrSweeny 14 years ago

Thank you for the thought-provoking contribution. I hadn't fleshed this out much at all. :)

[–] sexy_dancer 14 years ago

This is great! I wish that there were more posts this interesting. :)

[–] PoppyTransfusion 13 years ago

I had noted all the scenes you refer to but hadn't put it together as a possible theme in the film. The contrast between mysticism and cold, hard reality makes reminds me of the opening scene with the geese and farm girl, which is like a painting and so beautifully bucolic versus the scene on the Russian steppe in snow with dead men around the two characters.

A man chases a woman until she catches him