Marat\Sade Page #9

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
2,075 Views


...in the palms of my hands

and in my skin...

...the need of contact.

Shut behind thirteen bolted doors,

my feet fettered...

...I dreamed only

of the orifices of the body...

...put there, so one may hook

and twine oneself in them.

Continually I dreamed

of this confrontation...

...and it was a dream of the most savage,

jealous and cruellest imagining.

Marat...

...these cells of the inner self are worse

than the deepest stone dungeon...

...and as long as they are locked...

...all your revolution remains

only a prison mutiny...

...to be put down

by corrupted fellow-prisoners.

And what's the point of

a revolution without general...

...general copulation,

copulation, copulation..?

And what's the point of

a revolution without general...

...general copulation,

copulation, copulation..?

And what's the point of

a revolution without general...

...general copulation,

copulation, copulation...

...copulation, copulation,

copulation, copulation..?

Corday's third and last visit!

Have you given my letter to Marat?

Let me in, it is vital.

I must tell him

about the situation in Caen...

...where they are

gathering to destroy him.

Who is at the door, Simonne?

The girl from Caen.

Let her come in.

Marat?

I will tell you

the names of my heroes...

...but I am not betraying them...

...for I am speaking to a dead man.

Speak more clearly.

I can't understand you.

Come closer.

I name you...

...names...

...Marat...

...the names of those

who have gathered at Caen.

I name...

...Barbaroux and...

...Buzot and...

...Ption and Louvet and...

...Brissot and Vergniaud and...

...Gaudet and...

...Gensonn!

Who are you?

Come closer.

I am coming, Marat.

You cannot see me...

...because you are dead.

Bas! Take this down. Saturday, the thirteenth

of July, seventeen hundred and ninety three.

A call to the people of France.

Now it's a part of Sade's dramatic plan...

...to interrupt the action,

so this man...

...Marat can hear and

gasp with his last breath...

...at how the world

will go after his death.

With a musical history,

we'll bring him up to date...

...from seventeen-ninety-three

to eighteen-eight.

Now your enemies fall...

We're beheading them all...

Duperret and Corday

executed in the same old way...

Robespierre has to get on,

he gets rid of Danton...

That was spring, comes July,

and old Robespierre has to die...

Three rebellions a year,

but we're still of good cheer...

Malcontents, all have been,

taught their lesson by the guillotine...

There's a shortage of wheat...

We're too happy to eat...

Austria cracks and then

she surrenders to our men...

Fifteen glorious years...

Fifteen glorious years...

Years of peace, years of war,

each year greater than the year before...

Fifteen glorious,

glorious, glorious years...

Marat, we're marching on...

What brave soldiers we've got...

Now the traitors are shot...

Generals blodly take

power in Paris for the people's sake...

Egypt's beaten down flat...

Bonaparte did that...

Cheer him as they retreat,

even though we lose our fleet...

Bonaparte comes back,

gives our rulers the sack...

He's the man, brave and true...

Bonaparte would die for you...

Europe's free of her chains...

Only England remains...

But we want wars to cease,

so there's fourteen months of peace...

Fifteen glorious years...

Fifteen glorious years...

Years of peace, years of war,

each year greater than the year before...

Fifteen glorious,

glorious, glorious years...

Marat, we're marching on...

England must be insane,

wants to fight us again...

So we march off to war...

Bonaparte is our Emperor...

Nelson bothers our fleet,

but he's shot off his feet...

We're on top, yes, we are,

and we spit on Trafalgar...

Now the Prussians retreat...

Russia faces defeat...

All the world bends its knee

to Napoleon and his family...

Fight on land and on sea...

All men want to be free...

If they don't, never mind,

we'll abolish all mankind...

Fifteen glorious years...

Fifteen glorious years...

Years of peace, years of war,

each year greater than the year before...

Fifteen glorious,

glorious, glorious years...

Marat, we're marching on...

Behind Napoleon...

Marat, Marat, we're marching on

behind Napoleon...

Tell us, Monsieur de Sade,

for our instruction...

...just what you have achieved

with your production.

Who won?

Who lost?

We'd like to know the meaning

of your bathhouse show.

Our play's chief aim has been to take to bits

the great propositions and their opposites...

...see how they work...

...and let them fight it out.

The point?

Some light on our eternal doubt.

I've twisted and

turned on every way...

...and can find no ending

to our play.

Marat and I both

advocated force...

...but in debate,

each took a different course.

Both want the changes...

...but his views and mine on using

power never could combine.

On the one side, he thinks our lives

can be improved by axes and knives.

Or he would submerge

in the imagination...

...seeking a personal annihilation.

So for me, the last word

never can be spoken.

I'm left with a question

that is always open.

And if most have a little

and few have a lot...

You can see how much nearer

our goal we have got...

We can say what we like

without favour or fear...

And what we can't say

we can breathe in your ear...

And though we're locked up

we're no longer enslaved...

And the honour of France

is eternally saved...

The useless debate,

the political brawl...

...are over, there's one man

to speak for us all...

- For he helps us in sickness and destitution...

- No! Why are you afraid to tell them?

- He's the leader who ended the Revolution...

- Listen to me! Listen!

- And everyone knows why we're cheering for...

- Marat has died for you! They murdered him!

- Napolon, our mighty Emperor...

- And now they will murder you!

When will you learn to take sides?

- When will you learn to stand up? Listen! Listen to me!

- Led by him, our soldiers go...

- ...over deserts and through the snow...

- When will you learn to stand up?

A victory here

and a victory there...

Invincible, glorious,

always victorious...

For the good of all people

everywhere...

Charenton..! Charenton..!

Napolon..! Napolon..!

Charenton..! Charenton..!

Napolon..! Napolon..!

Nation..! Nation..!

Copulation..! Copulation..!

Let me go!

Let me go!

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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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