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";s:4:"text";s:14970:"One must read the play and see the background of Peter Weiss in order to get the full feel of this movie. The international cast of theatrical actors with their varied looks and accents enhance the accessibility of the source material and open a passage to the universal message of the story. The Marquis de Sade (Patrick Magee) puts on a play of an assassination for an audience. The subject of the play is the nature and importance of human cruelty as demonstrated by the French Revolution (which ended some 15 years earlier), but which continues on, even to the present, far beyond the actual setting of the play. I had never heard the name before, but I was certain she was a great actress who would have a brilliant career. This is one of a number of films that came out in the late 60s early 70s that challenged society at the time. As the great director Peter Brook commented upon his time spent in India: “Whatever the aspect of human experience, the Indian has indefatigably explored every possibility. English theatre and film director Peter Brook (born 1925, aged 95) is an internationally renowned personage in theater and cinema. Jean Paul Marat is ultimately vilified for the people he killed, just as the Black Panthers, the Weathermen, the Yippies and other groups; and in the end, regardless that their actions hurt more than they helped, everyone was trying to do their best for the people. The film should be approached as it is: a theatrical production made to be broadcast on a screen. (I also saw the movie a few years after it was released.). User account menu • Marat/Sade (1967) [360p] This is the true heart of Yoga which most westerners – who think yoga is merely a series of physical poses and breathing exercises – fail to grasp. We are forced to re-evaluate our notion of insane. For an actor, it was a total experience, not just: I’m an actor learning my lines.” – from the book The Mahabharata, Peter Brook’s Epic in the Making, by Garry O’Connor. Filmed plays are often criticized for their staginess, but this one quite requires that feeling. Peter Weiss has fully captured the unending struggle between the politics necessary to obtain freedom versus that which enslaves. A play so engaged, so angry and so nihilistic needs more than the strong central performance … It's shrill, endless and stagey. In the case of the 60s radicals, we have been condemned to see the world we envisioned turn away from our ideals and turn us into caricatures and stand up routines. it also has more edge and is much better cinema then the overrated 'Quills'. But in this filmed version a lot has been set aside from the epic poem; and only the essential bare bones of the story – which tells of the struggle between two groups of cousins in the Kurukshetra War and the fates of the Kaurava and the Pāṇḍava princes and their successors – is kept. i like this film though. If it is a word, a breath, a limb, a sound, a note – or a stone or a color or a cloth – all its aspects, practical artistic and spiritual, have been investigated and linked together. Newman, artistic director of the Castillo, has staged Marat/Sade as a comment on 1960s America, though he sticks to Weiss' text word for word. The promenade set-up, the attacks on supposedly enlightened attitudes to mental illness and the use of performance as a forum for serious political debate. (Perhaps all I know about the French Rev. Metacritic Reviews. I was in college when PBS in the U.S. showed Marat/Sade. The inmates are a hideous lot and Magee is no bargain either. i don't read Sade. The film is essentially a filmed record of the live theatre production by the Royal Shakespeare Co. that toured to New York in the late 1960's and was filmed for Art House distribution by Universal. When Marat/Sade was first shown--those of us used to the traditional Hollywood film entertainments were just stunned. While watching this, I felt disturbed and something uncomfortable in my stomach. 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. On the one hand it was the scariest, most disturbing film we had seen, on the other. 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. Besides Magee, Glenda Jackson deserves special praise for her performance as the narcoleptic inmate who plays the executioner of Marat. De Sade (Patrick Magee) directs the inmates of the Charenton insane asylum in a play about Charlotte Corday's murder of the radical journalist Jean Paul Marat. Enter your email address to follow this blog and receive notifications of new posts by email. Perhaps because I am old, and lived through the 60s, and was a French major - I think in order to truly understand this play you have to truly understand the revolution of the 60s vis a vis the French Revolution. The players include a recovering paranoiac, a narcoleptic also suffering from "melancholia," a sex maniac, a former priest, a former prostitute, and a patient so incensed by his role that he is confined to a straight-jacket the entire time. Press J to jump to the feed. Practicing Yoga exercises without attention to the ancient Indian spiritual context out of which Yoga arose is not only shallow but is to miss the entire goal of Yoga. I was blown away by the remarkable performance of Glenda Jackson. As he says, man takes pleasure in killing, otherwise he'd be a machine. The Peter Brook movie of it is anything but, and it helps to explain the downturn in highbrow British film c. 1967-1974. It's the kind of movie that sets the head reeling, and it made me want to watch it again ASAP. Others I can think of include A Clockwork Orange, Women in Love and The Devils (the latter, almost impossible to get on DVD these days, but I have a copy!). With all the outrageousness on the screen, with the layers of her characterization -- a deeply disturbed woman putting in great effort to parrot her scripted lines in a staccato voice -- she truly disappeared into this "inmate" portraying the role of Charlotte Corday. The theory behind this approach is that the patient by acting can understand his or her psychiatric disorder and through acting out their traumas they are supposed to get cured. 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