Marat\Sade Page #4

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
2,069 Views


Please understand...

...this man was once the very

well-thought-of abbot of a monastery.

It should remind us all

that as they say...

...God moves like a man

in a mysterious way.

Before deciding what is right

and what is wrong...

...first we must find out

what we are.

I do not know myself.

No sooner have I discovered something

than I begin to doubt it...

...and I have to destroy it again.

What we do is just a shadow

of what we want to do...

...and the only truths we can point to are

the ever-changing truths of our own experience.

I don't know if I'm hangman...

...or victim...

...for I imagine the most horrible tortures...

...and as I describe them,

I suffer them myself.

There's nothing I could not do...

...and everything fills me

with horror.

And I see that other people, too,

turn themselves into strangers...

...and are capable of unpredictable acts.

A little time ago,

I saw my tailor...

...a gentle, cultured man

who liked to talk philosophy.

I saw him foam at the mouth

and screaming with rage...

...attack a man from Switzerland.

A large man heavily armed.

And destroy him utterly.

And then I saw him tear open

the breast of the defeated man...

...take out his still beating heart...

...and swallow it.

A mad animal.

Man's a mad animal.

I'm a thousand years old and in my time

I've helped commit a million murders.

The earth is spread...

The earth is spread thick

with squashed human guts.

We few survivors...

We few survivors...

...walk over a quaking bog of corpses.

Always under our feet,

every step we take...

...rotted bones, ashes, matted hair

under our feet...

...broken teeth,

skulls split open.

A mad animal.

I'm a mad animal.

Prisons don't help.

Chains don't help.

I escape...

...through all the walls...

...through all the slime

and the splintered bones.

You'll see it all one day.

I'm not through yet.

I have plans.

We invented...

We invented...

We invented the Revolution...

...but we didn't know

how to run it.

Look...

...everyone wants to keep

something from the past.

A souvenir of the old regime.

So this man decides to keep a painting,

this man keeps his mistress...

...this man keeps his horse,

this man keeps his garden.

That man keeps his farmlands,

that man keeps his house in the country...

...that man keeps his factories, that man

couldn't bear to part with his shipyards.

That man keeps his army...

...and that one keeps his king.

And so we sit here...

...and write into the declaration

of the rights of man...

...the sanctity of private property.

And now we'll see

where that leads.

Every man's equally free to fight...

...fraternally and with

equal arms, of course.

Every man his own millionaire.

Man against man,

group against group...

...in happy mutual robbery.

And we...

...sit here more oppressed

than when we begun...

...and they think that

the revolution's been won?

The people's reaction.

Why do they have the gold and...

Why do they have the power...

Why, why, why, why, why...

...do they have the friends

at the top..?

Why do they have

the jobs at the top..?

We've got nothing,

always had nothing...

Nothing but holes and

millions of them...

Living in holes, dying in holes...

Holes in our bellies and

holes in our clothes...

Marat, we're poor...

And the poor stay poor...

Marat, don't make

us wait anymore...

We want our rights

and we don't care how...

We want our revolution now...

Observe how easily

a crowd turns mob...

...through ignorance

of its wise ruler's job.

Rather than bang an empty

drum of protest...

...citizens be dumb.

Work for and trust

the powerful few...

...what's best for them

is best for you.

Ladies and gentlemen, we'd like to see

people and government in harmony...

...a harmony which I should say

we've very nearly reached today.

And now nobility meets grace.

Our author brings them

face to face.

The beautiful and brave

Charlotte Corday.

The handsome Monsieur Duperret.

In Caen where she spent

the best years of her youth...

...in a convent devoted

to the way of truth...

...Duperret's name

she heard them recommend...

...as a most sympathetic

helpful friend.

Confine your passion

to the lady's mind.

Your love's platonic,

not the other kind.

Ah, dearest Duperret,

what can we do?

How can we stop

this terrible calamity?

In the streets, everyone is saying

Marat's to be tribune and dictator.

Still he pretends his iron grip will

relax as soon as the worst is over.

But we know what

Marat really wants:..

...anarchy and confusion.

Dearest Charlotte,

you must return...

...return to your friends the pious nuns

and live in prayer and contemplation.

You cannot fight the hard-faced

enemies surrounding us.

You talk about Marat,

but who is this Marat?

A street salesman,

a funfair barker...

...a layabout from Corsica.

Sorry, I mean Sardinia.

Marat?

The name sounds Jewish to me.

Perhaps derived from the waters

of Marah in the Bible.

But who listens to him anyway?

Only the mob down in the streets.

Up here Marat can be

no danger to us.

Dearest...

...Duperret...

...you're trying

to test me, but...

...I know what I must do.

Duperret...

...go to Caen.

Barbaroux and Buzot are

waiting for you there.

Go now and travel quickly.

Do not wait till this evening...

...for this evening,

everything will be too late.

Dearest Charlotte, my place is here.

How could I leave the city which holds you?

And why should I run...

And why should run...

...now when it can't last

much longer?

Already the English lie off

Dunkirk and Toulon.

- The Prussians have occu...

- Spaniards.

Spaniards have

occupied Roussillon.

- Paris is...

- Mayence.

Mayence is surrounded

by the Prussians.

Cond and Valenciennes

have fallen to the Russians.

- The Austrians!

- The Austrians!

The Vende is up in arms.

They can't hold out...

...much longer these fanatical upstarts

with no vision and no culture.

They can't hold out much longer.

No, dear Charlotte, here I stay...

...waiting for the promised day

when with Marat's mob interred...

...France once more speaks

the forbidden word:..

...Freedom!

Freedom!

Freedom!

- Chain him!

- Freedom!

Freedom.

Do you hear that, Marat?

They all say they want

what's best for France.

My patriotism's bigger than yours.

They're all ready to die for

the honour of France.

Moderate or radical,

they're all after the taste of blood.

The luke-warm liberals

and the angry radicals...

...they all believe in

the greatness of France.

Marat, can't you see

this patriotism is lunacy?

Years ago, I left heroics

to the heroes...

...and I care no more for this country

than for any other country.

Take... care.

Long live Napolon and the nation!

Long live all emperors,

kings, bishops and popes!

Long live watery broth

and the straitjacket!

Long live Marat!

Long live the Revolution!

It's easy to get

mass movements going...

...movements that move

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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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