Marat\Sade Page #2

Synopsis: 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. I
 
IMDB:
7.6
NOT RATED
Year:
1967
116 min
2,068 Views


...while you wait...

Corday, Corday.

Corday!

...while you wait for this woman

to cut him down.

And none of us...

And none of us...

And none of us can alter the fact,

do what we will...

...that she stands outside Marat's door...

...ready and poised to kill.

Poor...

...Marat...

...in your bathtub, your body

soaked saturated with poison.

Poison spurting

from your hiding place...

...poisoning the people, arousing them

to looting and murder.

Marat...

...I have come, I,

Charlotte Corday, from Caen...

...where a huge army

of liberation is massing...

...and, Marat, I come

as the first of them...

...Marat.

Once both of us saw

the world must go...

And change as we read

in great Rousseau...

But change meant

one thing to you I see...

And something quite different to me...

The very same words

we both have said...

To give our ideals

wings to spread...

But my way was true...

While for you...

The highway led over

mountains of dead...

Once both of us spoke

a single tongue...

Of brotherly love

we sweetly sung...

But love meant

one thing to you I see...

And something quite different to me...

But now I'm aware

that I was blind...

And now I can see

into your mind...

And so I say no...

...and I go

to murder you, Marat...

And free all mankind...

Simonne!

Simonne!

More cold water. Change my bandage.

Oh, this itching is unbearable.

Jean-Paul, don't scratch yourself,

you'll tear your skin to shreds...

...give up writing, Jean-Paul,

it won't do any good.

My call. My fourteenth of July call

to the people of France.

Jean-Paul, please be more careful,

look how red the water's getting.

And what's a bath full of blood

compared to the bloodbaths still to come?

Once we thought a few hundred

corpses would be enough...

...then we saw thousands

were still too few...

...and today we can't

even count all the dead.

Are there any of

our enemies left anywhere?

Everywhere,

everywhere you look.

There they are. Up on the rooftops.

Down in the cellars. Behind the walls. Hypocrites!

They wear the people's cap on their heads,

but their underwear's embroidered with crowns...

...and if so much as a shop gets looted

they squeal:
"Beggars, villains, gutter rats!"

Simonne, my head's on fire.

I can't breathe.

There is a rioting mob inside me.

Simonne!

I am the Revolution.

Corday's first visit.

I have come to speak

to Citizen Marat.

I have an important message for him

about the situation in Caen, my home...

...where his enemies are gathering.

We don't want any visitors.

Nous voulons la paix.

If you've got anything

to say to Marat...

...put it in writing.

What I have to say

cannot be said in writing.

I...

...want...

...to stand...

...in front of him and...

...look at him.

I want...

...to see his body tremble

and his forehead...

...bubble with sweat.

I want to thrust right

between his ribs...

...the dagger which I carry

between my breasts.

I shall...

...take the dagger...

...in both hands and...

...push it...

...through his flesh,

and then I shall hear...

...what he has to say...

...to me.

Not yet, Corday.

You must come to

his door three times.

Song and mime of

Corday's arrival in Paris!

Charlotte Corday

came to our town...

Heard the people talking,

saw the banners wave...

Weariness had almost

dragged her down...

Weariness had dragged her down...

Charlotte Corday had to be brave...

She could never stay

at comfortable hotels...

Had to find a man

with knives to sell...

Had to find a man with knives...

Charlotte Corday

passed the pretty stores...

Perfume and cosmetics,

powders and wigs...

Unguent for curing syphilis sores...

Unguent for curing sores...

She saw a dagger...

Its handle was white...

Walked into the cutlery seller's door...

When she saw the dagger,

the dagger was bright...

Charlotte saw the dagger was bright...

When the man asked her:

"Who is it for..?"

It is common knowledge

to each one of you...

Charlotte smiled and

paid him his forty sous...

Charlotte smiled

and paid forty sous...

Charlotte Corday walked alone...

Paris birds sang sugar calls...

Charlotte walked down

lanes of stone...

Through the haze

from perfume stalls...

Charlotte smelt the dead's gangrene...

Heard the singing guillotine...

Don't soil your pretty little shoes...

The gutter's deep and red...

Climb up, climb up,

and ride along with me...

The tumbrel driver said...

But she never said a word...

Never turned her head...

Don't soil your pretty little pants...

I only go one way...

Climb up, climb up,

and ride along with me...

There's no gold coach today...

But she never said a word...

Never turned her head...

What kind of town is this?

The sun can hardly pierce the haze,

not...

...a haze made out of rain and fog,

but...

...steaming thick and hot

like the mist in a slaughterhouse.

Why are they howling?

What are they dragging

through the streets?

They carry stakes, but what's

impaled on those stakes?

Why do they hop?

What are they dancing for?

Why are they racked with laughter?

Why do the children scream?

What are those heaps they fight over,

those...

...heaps with eyes and mouths?

What kind of town is this...

...hacked buttocks

lying in the street?

What are all these faces?

Soon...

...these faces will close around me.

These eyes and mouths will call me...

...to join them!

Now it's happening and

you can't stop it happening.

The people used to suffer everything,

now they take their revenge.

You are watching that revenge, and you don't

remember that you drove the people to it.

Now you protest, but it's too late

to start crying over spilt blood.

What is the blood of these aristocrats compared

with the blood the people shed for you?

Many of them had their throats

slit by your gangs.

Many of them died more slowly

in your workshops.

So what is this sacrifice compared with the

sacrifices the people made to keep you fat?

What are a few looted mansions

compared with their looted lives?

You don't care...

...if the foreign armies with whom you're making

secret deals march in and massacre the people.

You hope the people will be wiped out,

so you can flourish...

...and when they are wiped out, not a muscle

will twitch in your puffy bourgeois faces...

...which are now all twisted up

with anger and disgust.

Monsieur de Sade,

we can't allow this...

...you really can't call this education.

It isn't making my patients any better,

they're all becoming over-excited.

After all, we invited the public here to show

them that our patients are not all social lepers.

We only show these people massacred,

because this indisputably occurred.

Please calmly watch these barbarous displays

which could not happen nowadays.

The men of that time mostly now demised

were primitive, we are more civilised.

The execution of the aristocrats.

Look at them, Marat...

...these men who once

owned everything.

Now that their pleasures

have been taken away...

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Peter Weiss

Peter Ulrich Weiss (8 November 1916 – 10 May 1982) was a German writer, painter, graphic artist, and experimental filmmaker of adopted Swedish nationality. He is particularly known for his plays Marat/Sade and The Investigation and his novel The Aesthetics of Resistance. Peter Weiss earned his reputation in the post-war German literary world as the proponent of an avant-garde, meticulously descriptive writing, as an exponent of autobiographical prose, and also as a politically engaged dramatist. He gained international success with Marat/Sade, the American production of which was awarded a Tony Award and its subsequent film adaptation directed by Peter Brook. His "Auschwitz Oratorium," The Investigation, served to broaden the debates over the so-called "Aufarbeitung der Vergangenheit" (or formerly) "Vergangenheitsbewältigung" or "politics of history." Weiss' magnum opus was The Aesthetics of Resistance, called the "most important German-language work of the 70s and 80s. His early, surrealist-inspired work as a painter and experimental filmmaker remains less well known. more…

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Submitted on August 05, 2018

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