Anton Chekhov’s The Duel

Overview

Anton Chekhov is renowned for his four classic plays and his stream-of-consciousness writing technique, which detached itself from traditional literary story structures. He believed that the role of an artist was to ask questions, not to answer them, and did not apologise for the difficulties posed for readers in his works.

This progressive disregard for the obvious is also evident in Mary Bing's adaptation of his 1891 novella The Duel. Directed by Dover Kosahvili, the film paints Chekhov's words beautifully onto the big screen. The plot pivots around two lovers and is simple enough. With laconic charm, the film tells a tale of desire, adultery, betrayal, and ultimately, love.

Laevsky (Andrew Scott), an aristocratic civil servant, lives with his mistress Nadya (Fiona Glascott), having seduced her from her husband. A letter arrives informing Laevsky of Nadya's husband's demise and unfurling into a series of life-changing decisions for him to rapidly make: whether to tell Nadya of the letter, make an honest woman of her by marrying her and starting a family, or keep drinking and playing cards, hoping adult responsibilities dissolve conveniently into the night like Nadya's multiple lovers, who keep popping up.

Laevsky is driven mad by her and is wracked with guilt not just for his actions but his inability to commit to anything resembling the lives of those around him. The film unfolds slowly in fragments, whose nature might capture some viewers' curiosity but might jolt others with its uncomfortable and alienating rhythms.

Moments full of angst and action pepper the story. One such sequence is the film's crescendo, the duel, providing an outcome that is open to interpretation and coming back to Chekhov's desire to ask questions and leave them unanswered.

The cinematography (by Paul Sarossy) is stunning, with location shots in Croatia. Sarossy's efforts give the film the visual feel of an endless ream of postcards. The Duel is a gorgeous film with strong, committed performances from Scott, Glascott, Tobias Menzies, and Niall Buggy. Chekhov admirers should warm to it particularly; however, it should also procure wider audience appeal.