
July 13, 1808 at the Charenton Insane Asylum just outside Paris. The inmates of the asylum are mounting their latest theatrical production, written and produced by who is probably the most famous inmate of the facility, the Marquis de Sade. The asylum's director, M. Coulmier, a supporter of the current French regime led by Napoleon, encourages this artistic expression as therapy for the inmates, while providing the audience - the aristocracy - a sense that they are being prog... (Full plot summary below)
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July 13, 1808 at the Charenton Insane Asylum just outside Paris. The inmates of the asylum are mounting their latest theatrical production, written and produced by who is probably the most famous inmate of the facility, the Marquis de Sade. The asylum's director, M. Coulmier, a supporter of the current French regime led by Napoleon, encourages this artistic expression as therapy for the inmates, while providing the audience - the aristocracy - a sense that they are being progressive in inmate treatments. Coulmier as the master of ceremonies, his wife and daughter in special places of honor, and the cast, all of whom are performing the play in the asylum's bath house, are separated from the audience by prison bars. The play is a retelling of a period in the French Revolution culminating with the assassination exactly fifteen years earlier of revolutionary Jean-Paul Marat by peasant girl, Charlotte Corday. The play is to answer whether Marat was a friend or foe to the people of France. In the primary roles are a paranoiac with a skin condition (much as Marat had himself) as Marat, a narcoleptic with melancholia as Corday, and a sexual manic as M. Dupere. Coulmier feels he needs to intervene anytime during the performance when things get out of hand. The Marquis may have ulterior motives in the telling of this story, he who plays a large role on stage, especially in his discussions with the Marat character about the nature of the revolution and the differences in their individual motives concerning the revolution. As the inmates perform a story of revolution, they may subconsciously be sucked into the story mirroring their own struggles with authority. Real life and the actors' afflictions may also dictate how the performance turns out.
Leave your thoughts about 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.
| The SpectatorPenelope HoustonThe centre fails to hold, and increasingly the emotive devices of the production seem to be lashing around in an intellectual straitjacket. |
| Mountain Xpress (Asheville, NC)Ken HankeTold in rhyme and song, Marat/Sade entertains, informs, moves and horrifies in equal measure. |
| Ozus' World Movie ReviewsDennis SchwartzThough not as powerful as the play, even if there's the same director and performers, it still connects with a modern audience. |
| User ReviewTim RAs with the play, a grim frenzied descent into madness and the grotesque. It is also a masterpiece. |
| User ReviewZack BOne of the few musicals I have really enjoyed. Fun, gross, bawdy and outrageous. |
| User ReviewRasritter EThe perfect Halloween movie. Trust me...;-) |
| User ReviewAsif KI can't comprehend some of the reviews I have seen. "Not worth your time' is not and I repeat not an appropriate way to discuss this masterpiece. It is a transformation of stage to screen in incredible fashion, instead of attempting to turn a play into a movie Brook puts you in the position of the ideal spectator of the stage, as if you could walk over and observe the actor's every wrinkle stretch and compress as they release amazing lines that came out of Adrian Mitchell's adaptation. I will comment no more as "you must choose" what the film is and what it should do for you, however it is my opinion that only a closed and ignorant mind should reject this movie, for even if you do not like it, I believe you should accept it for not trying to be anything it's not. Enjoy. |
| User ReviewDavid JThe problem of bringing a play to the screen has been approached in many ways, often disastrously. Here, Brook has achieved the very difficult. He has taken an important play, made it more immediate and powerful, and in doing so has created a distinguished if not brilliant film. |
| User ReviewJames HI suppose it was innovative in 1967, but I can think of few films that have bored me more. It was torture getting through this pretentious mess. I don't care if it is the Royal Shakespeare Company doing it, or whether it is historically significant, boring is boring |