Marat/Sade

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.

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-

You do not need to know the details of French history to enjoy (?) this most astonishing and confrontational movie. Remember that this is a cinematic version of a play, and that Director Peter Brooks never loses sight of the physical presence and power that his original stage version was renowned for. Unlike many cinematic treatments of stage drama, this film is essentially theatre - the camera in fact intensifies the claustrophobic setting and puts the viewer in the front row. The performances are uniformly excellent : the intensity and conviction of the cast in their roles is exceptional. This is an emotionally draining, bravura movie that once seen, can not be forgotten.

One must read the play and see the background of Peter Weiss in order to get the full feel of this movie. It is absolutely the best presentation of the politics of man and our inability to ever resolve the major issues of our existence. Peter Weiss has fully captured the unending struggle between the politics necessary to obtain freedom versus that which enslaves. The best parts are the discussions between Sade and Marat as to the results of freedom versus dictatorship and capitalism versus socialism. The entire story provides a voyage through the human comedy and shows the inability of humanity to ever figure out the real truth of our existence and relationship to each other and our socitey. The result is a better understanding of the sinusoidal flow of the give an take of our history.