Marat/Sade

I just watched the MGM DVD, which is a fine letterboxed transfer. (I also saw the movie a few years after it was released.)

Marat/Sade is an amazingly original and stunningly powerful philosophical and psychological descent into one of the most complex periods of recorded history, the French Revolution, the Terror that ensued, and the rise of Napoleon and his empire. The multi-layered ideas come thick and fast; I had to watch the movie over two nights because there's so much to think about, and some of the words and images are so overwhelming.

Of the Royal Shakespeare Company actors in the film (little known at the time), Glenda Jackson had the most notable subsequent career, but Ian Richardson (Marat) has also done remarkable things (and he's so young here, you may not recognize him).

This is not a movie for casual entertainment, but if you care about history and the deepest questions of good and evil and free will, you'll find much of value here.

The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade (1967/Peter Brook) **** out of ****

"He who kills without passion, is a machine."- Marquis de Sade (Patrick Magee)

What does one look for in a film? I suppose it has something to do with personal interest, but the reason why I was fascinated with the film mentioned above, was because of its abnormally large title. As I was strolling through Blockbuster today, I noticed that it carried this film on DVD. And I thought to myself, "Isn't it rare that my local Blockbuster is housing such a rare 60's arthouse film?". So I took advantage of it, and rented the movie. And this is what I found within it...

Never before has a title been so self explanatory. It serves as the film's plot description. It is basically a filmed play about the French Revolution and the last days of Jean-Paul Marat (Ian Richardson). The catch is: It is performed by patients of a mental hospital in France (in 1808). And it is directed and acted in by a famous patient at the hospital: The Marquis de Sade. It is performed to the Administrator and his family, and many local citizens who care to watch. The point of the show is to prove that the hospital's rehabilitation methods are working, but de Sade has a far more ambitious goal than that. And the play is constantly interrupted by the administrator, who feels it should be more "politically correct" for the recent times. But after the second act, the inmates have secretly taken over, and he is forced just to watch in horror, as are we...the audience.

It is very hard to classify this film. At some points, it is a drama. At other points, it is a thriller, mystery, horror, comedy, and even musical (the musical numbers are very strange). But for the most part, it is a two hour history lesson. All the performances are excellent, and haunting (especially Glenda Jackson's performance). The film has a bizarre tone about it, and is easily the most eerie film I have ever scene. When I called it a history lesson, you might have lost interest right then. But, all the actors (especially the narrator who speaks only in rhymes), looks directly into the camera as they speak. It is as if they are talking to you, and as if you are the only one watching. This gives you the feeling that you must sit up and listen, or they will be angry with you.

"Marat/Sade" is the most unique, and most ghostly film I have ever scene. I only recommend it to fans of theater, and of course film buffs. Though the film requires your greatest attention, it is oddly rewarding.

-30-

The film is essentially a filmed record of the live theatre production by the Royal Shakespeare Co. that toured to New York in the late 1960's and was filmed for Art House distribution by Universal.

This is one of my all-time favorite films because of the sheer density of meaning in it. The story is set in an asylum in 1808 in the Napoleonic era, and the play within it is set in 1793 during the most violent part of the French Revolutionary era. Most of the dialogue has relevance to political criticism in both eras. If that were not enough, it also has levels that are clearly evoking the era that the playwright Weiss was writing in (the 1960's) and also Germany's recent (Holocaust/WWII) past. Some passages in the play, most notably those relating to war, manage to have a level of meaning for ALL FOUR eras at once! Because I show this film to classes, I've seen it dozens of times and I'm continually intrigued by it because each viewing reveals new meanings as it seems to weirdly comment on the current day's events that occurred long after it was written and filmed. The first viewing is often disorienting because it piles so much historic-socio-sexual-political content up with so much odd directing and extreme acting style that it is hard to grasp at first, but repeated viewings suck you in like an intellectual's Rocky Horror Picture Show, and some theatre junkies learn to sing along.

The Film of the Royal Shakespeare Company production of Marat/Sade (1967) is considered a classic avant garde 1960's drama in the style known as "Theatre of Cruelty". It is often shown to university level theatre classes because it has wonderful examples of both Artaud and Brecht theatre styles in it. I show it to my classes and it never fails to blow their undergraduate minds. It stars Glenda Jackson as Charlotte Corday (now Dame Glenda Jackson, MP), Ian Richardson (of "House of Cards" fame) as Marat, and Patrick Magee (Clockwork Orange) as de Sade.

As the title implies, the film is entirely a play-within-a-play where most cast members depict both a character from the French Revolution as well as an insane asylum inmate playing that character. While the film (like the later comedy-drama about deSade, "Quills") addresses censorship, it is primarily concerned with a debate between Marat as a sort of representative of revolutionary radical communism, and de Sade as a nihilistic existentialist frustrated with his own, and society's, violently cruel urges, as well as the futility of revolutionary action to improve mankind.

Despite this very heavy and multi-layered topic, the film also manages to be both sexy and funny in regular intervals. Great moments include a comic "orgy" scene where the inmates sing "What's the point of a revolution without general copulation?" in a round like "row-row-row your boat" and mime a vigorously improbable group sex event fully clothed, Magee's various speeches on the nature of man: "What we do, is but a shadow of what we want to do...", Richardson's unblinking intensity as he waits for the knife to "kill" him, and Jackson, doing a little dance trying to capture the knife from de Sade while he teases her with it in an effort to get her in his arms. Add to this the delightful theatricality and musical numbers (yes there are many musical numbers!) and it is little wonder that the play on which the film is based has regularly been performed all around the world ever since it was written.

This takes place in 1808 in an insane asylum. The Marquis de Sade (Patrick Magee) puts on a play of an assassination for an audience. He uses the other inmates as actors. Things slowly get out of hand leading to a truly horrifying ending.

I first caught this way back in 1980 at a center for adult education. It was a video of the movie shown for free. The picture was murky and the sound was terrible. Still I sat through it. I just caught it again (over 20 years later) on cable. This time I could see and hear it clearly. I'm not going to pretend that I understand what this is about, aside from the basic premise about a bunch of inmates putting on a play, and I do know it was based on a stage play. Still, I watched all 2 hours. The acting is great across the board but Magee, Ian Richardson and Glenda Jackson (in her major film debut) are exceptional. The movie is disturbing--I realize these are all actors playing roles but they're so good that you believe everything you're seeing. The direction also is masterful--it opens up the play cinematically. It has an R rating but that's mostly for subject matter and a brief nude scene with Richardson. This isn't for everybody--some people will be bored silly by it--but for those who like challenging movies this fits the bill. The ending is very disturbing. I give it a 7.

I was hooked on this movie the minute I laid eyes upon it... bought the video and meticulously transcribed every word onto my copy of a transcript. I found the Shakespearean troupe to be excellent in their portrayals of madmen performing a play. The French Revolution being the main theme, echoed by various inmates' views of it, as well as several forays into philosophical thinking of man's condition. Plenty of symbolism, hard to draw a line where reality ends and madness begins (is it history, the play, the actor, the character, the madman, the script, etc.). Bears repeated watchings well, if one is interested in terrific character portrayal, philosophy, history, mental illness in general, etc. Asks that you pay close attention at all times, however... some of the extended debates between De Sade and Marat are absolutely riveting to watch. The interplay of several levels of perception is fascinating, and the overall effect is definitely one of a real insane asylum, disturbingly so at times. There is much humour here as well, again on multiple levels... this is definitely an intellectual movie, a thinking man's movie... all action takes place in the single bathouse of the asylum. Many aspects both of history and the philosophies of revolutionary leaders and their antagonists are explored. Highly recommended watching.