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
2,038 Views


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,

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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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