Marat/Sade / Марат/Сад / The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade (1967) DVDRip |
 The Marquis de Sade is locked in the Charenton mental hospital and decides to put on a play. His overseers agree as long as he follows certain conditions. He writes and directs the other mental patients in a play based on the life of the Jean-Paul Marat. As the play progresses, the inmates become more and more possessed by the violence of the play and become extremely difficult to control. Finally, all chaos breaks loose...
В сумасшедшем доме происходит спор между маркизом де Садом и актером, изображающим Марата. Чем дальше разыгрывается пьеса, тем более обитатели лечебницы становятся охвачены насилием и вовлечены в хаос происходящего. Экранизация спектакля Питера Брука по пьесе П. Вайса «Преследование и убийство Жан-Поля Марата, представленное артистической труппой психиатрической лечебницы в Шарантоне под руководством господина де Сада»... Marat/Sade is quite simply one of the best movies I have ever seen. The movie asks the eternal questions regarding the nature of being and the definitions that are agreed to and imposed by society, in all of its forms. Everything is described in this movie, including censorship and propaganda which are all delivered under the guise of benevolent tyranny. The fact that a good portion of events described in the movie aren't historically accurate, doesn't mar the precise and razor sharp script (an English translation of a German Play). It is hard to distill or summarize this movie with any acuity, except to say that the ideas that are described are exactly what is required and nothing more. I'll end with a quote from the beginning of the movie, "...see Marat debating with De Sade, each one wrestling with each other's views. Who's the winner? You must choose..."
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 "Every animal, plant, or man that dies adds to nature's compost heap, becomes the manure without which nothing can grow; nothing could be crafted. Death is simply part of a process. Every death, even the cruelest death, drowns in a total indifference of nature. Nature would watch, unmoved, if we destroyed the entire human race. I hate nature. Its passion is spectative, its unbreakable iceberg face that can bear everything, this goads us to greater and greater acts. But though I hate this goddess, I still see that the greatest acts in history have followed her laws." - The Marquis de Sade (Patrick Magee)
 Set in the historical Charenton Asylum, now d’Hôpital Esquirol, Marat/Sade is almost entirely a "play within a play". The main story takes place on July 13, 1808, after the French Revolution; the play directed by de Sade within the story takes place during the Revolution, in the middle of 1793, culminating in the assassination of Jean-Paul Marat (which took place on July 13, 1793), then quickly brings the audience up to date (1808). The actors are the inmates of the asylum, and the nurses and supervisors occasionally step in to restore order. The bourgeois director of the hospital, Coulmier, supervises the performance, accompanied by his wife and daughter. He is a supporter of the post-revolutionary government led by Napoleon, in place at the time of the production, and believes the play he has organised to be an endorsement of his patriotic views. His patients, however, have other ideas, and they make a habit of speaking lines he had attempted to suppress, or deviating entirely into personal opinion. Suffice it to say that they, as people who came out of the revolution no better than they went in, are not entirely pleased with the course of events as they fell.
 In 1966, world-famous stage director Peter Brook adapted the visionary play by Peter Weiss, a German dramatist who lived in Sweden until his death in 1982. The full title of the film is The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade. The complexity of the title is matched by the complicated relationship to history and politics it offers. The didactic full title of the play heralds a complex political drama rarely seen on film. This film does not aim at persuasiveness or at presenting an objective analysis of a distinct historical event. Instead, it offers a complicated unfolding of a play within a play about drama and history that simultaneously challenges the spectator to rethink political philosophy and the nature of human nature.
 The play is based on two historical truths: that the Marquis de Sade was interned in the asylum in the Paris suburb of Charenton for 13 years (from 1801 until his death in 1814); and that Marat was fatally stabbed in a bathtub by Charlotte Corday at the height of terror in the French Revolution in 1793. The sparse facts form the basis of an imagined performance by members of asylum. The play is performed by inmates of the asylum and overseen, monitored, and intermittently interrupted by the asylum's staff. The patients' white costumes and the white face worn by some of the cast provide a drab background for the opulent aristocratic audience, who have come to the asylum to watch the show. Thematically, this film is about history itself, the events of the French revolution, class conflict, and the conditions of an early nineteenth century asylum, where plays were part of the therapeutic process. But the play-within-a-play is not just a historical drama. Rather, it is clearly concerned with the problem of revolution.
 For Marat, the problems of existence have social and political solutions and revolution holds the potential for transformation. Sade, on the other hand, champions the depravity and perversity inherent in human nature. In addition to these two poles of belief, a chorus of other voices are present: The asylum director is present, with his wife and daughter, to interrupt the action when the revolutionary rhetoric goes too far and the historical revision not far enough. The priest strives to uphold the rules of the church, and the audience is bent on entertainment. The herald provides an ongoing ironic commentary on events, while Charlotte Corday, the narcoleptic heroine and assassin, speaks contemptuously of the slaughter in Paris, with phrases like, "They talk of people now as gardeners talk of leaves for burning."
 The unusual, minimalist cinematography of Watkins creates a harsh, at times surreal, effect. His skillful camera work varies extreme, lingering close-ups with erratic camera movement to heighten the unpredictability and exacerbate the feeling of uncontrolled violence building beneath the surface. The camera work implicates the spectator in the play's unfolding, revealing that there is no safe place from which to watch the film at a distance. The use of a hand-held camera, especially, makes us feel that we too are inmates involved in the activity of the asylum.  In a similarly innovative manner, the spectator is not given a linear narrative, except in the synopsis of the entire film provided at the beginning of the play by a herald. Thus, one is forced to participate actively in the making of the meaning and message of the play (and the film). According to Graham Holderness, "the play present[s] political violence and human extremity through a philosophical violence and a self-reflexive theatrical medium." The film raises such questions as, who benefits from the revolution? Do the ends justify the means? Charenton, "an intense characterization of the wretched of the earth" writes Holderness, was a place for the socially unacceptable (whether clinically insane or not). This institution was, acording to Weiss, a "hiding place for the moral rejects of civilized society" and was designed to maintain discipline, order, and social control for 'civilized' societies.
 Brook's adaptation of the play reveals strong overtones of Antonin Artaud's 'Theater of Cruelty,' which touted a new dramatic language, liberated from the narrative continuity and the conventions of realist theater. The events of the play and its the setting in an asylum jar the senses of both the audience and the performers, agitating viewers at a sensory level and thus involving them emotionally as well as intellectually. One witnesses the use of Brechtian estrangement as asylum inmates constantly forget their lines, fall out of their roles, and have to be prompted. Moreover, the film is divided into episodes, all of which are continuously interrupted by formal debate, political songs, direct audience address, mime, and pageant. The characters break into song, speak in rhyme, have mental attacks (narcolepsy, seizures, itching attacks, and so forth.) This constant interruption and mixing of the different historical levels serves as a reminder of the blurry line between life and representation.
The film concludes with Marat's rising from his death to pronounce final words of faith in revolutionary collectivism: "Others now will carry on/the fight that I Marat begun/until one day the hour shall strike/when men will share and share alike." Sade rejoins with pour individualism "So for me the last word can never be spoken/I am left with a question that is always open." The entirely imagined encounter between Marat and Sade reflects the Marxist belief in history as a conflict between two contradictory forces, represented by the beliefs of Marat and Sade. On one level a historical drama about France in the aftermath of the 1789 revolution, and a philosophical debate between the collective and the individual, Brook's film also pushes the limits, testing whether a film should take up a political stance or maintain a dignified detachment in the interests of objectivity. —Jill Gillespie
     Description / Информация о фильме: Cast / В ролях: Patrick Magee, Ian Richardson, Michael Williams, Clifford Rose, Glenda Jackson, Freddie Jones, Hugh Sullivan, John Hussey, William Morgan Sheppard, Jonathan Burn, Jeanette Landis, Robert Langdon Lloyd, John Steiner, James Mellor, Henry Woolf, John Harwood, Leon Lissek, Susan Williamson, Carol Raymont, Mary Allen, Brenda Kempner, Mark Jones, Maroussia Frank...
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| 29 июня 2010, Views: 2600 |
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