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Marat/Sade (1967)

7.6
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Ratings: 7.6/10 from 1,651 users  
Reviews: 33 user | 11 critic

In an insane Asylum, Marquis de Sade directs the Jean Paul Marat's last days through a theather play. The actors are the patients.

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(play), (English translation), 1 more credit »
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Title: Marat/Sade (1967)

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Cast

Cast overview, first billed only:
Patrick Magee ...
...
Michael Williams ...
Herald
Clifford Rose ...
Monsieur Coulmier
...
...
Cucurucu
Hugh Sullivan ...
Kokol
John Hussey ...
Newly Rich Lady
...
A Mad Animal
Jonathan Burn ...
Polpoch
Jeanette Landis ...
Rossignol
Robert Langdon Lloyd ...
Jacques Roux (as Robert Lloyd)
John Steiner ...
Monsieur Dupere
James Mellor ...
Schoolmaster
Henry Woolf ...
Father
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Storyline

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. ... Written by Huggo

Plot Summary | Add Synopsis

Genres:

Drama | History | Music

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

13 April 1967 (Sweden)  »

Also Known As:

A Perseguição e o Assassinato de Jen-Paul Marat Desempenhados Pelos Loucos do Asilo de Charenton Sob a Direção do Marquês de Sade  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The full title of the original Broadway play was "The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade" which opened on December 27, 1965 at the Martin Beck Theatre and ran for 145 performances. Ian Richardson, Michael Williams, Clifford Rose, Glenda Jackson, Freddie Jones, Hugh Sullivan, John Hussey, William Morgan Sheppard, Jonathan Burn, Jeanette Landis, Paul Robert Langdon, John Steiner, James Mellor, Henry Woolf, John Harwood, Leon Lissek, Susan Williamson, Carol Raymont, Mary Allen, Robert Lloyd, Jacques Roux, Patrick Magee, Mark Jones, Brenda Kempner, Maroussia Frank, Tamara Fuerst, Lynn Pinkney, Ian Hogg, Ruth Baker, Michael Farnsworth, Guy Gordon, Michael Percival, Heather Canning, Jennifer Tudor, Tim Hardy, and Stanford Trowell recreated their stage roles in the movie version. The original play was written by Peter Weiss, with the English translation by Geoffrey Skelton. See more »

Quotes

Herald: The revolution came and went, And unrest was replaced by discontent.
See more »

Crazy Credits

The opening credits - the play's title, stage credits and the actors appearing in the film - pop on the screen, one word at a time, until it is filled. The closing credits - the film's production staff - start off with a full screen of words; they then pop off the screen, one word at a time, until it is completely empty...just as it was when the film began. See more »

Connections

Referenced in Elisabeth (2005) See more »

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User Reviews

As vital and contemporary today as when it was first performed.
26 April 2000 | by (Tuross Head, Australia) – See all my reviews

You do not need to know the details of French history to enjoy (?) this most astonishing and confrontational movie. Remember that this is a cinematic version of a play, and that Director Peter Brooks never loses sight of the physical presence and power that his original stage version was renowned for. Unlike many cinematic treatments of stage drama, this film is essentially theatre - the camera in fact intensifies the claustrophobic setting and puts the viewer in the front row. The performances are uniformly excellent : the intensity and conviction of the cast in their roles is exceptional. This is an emotionally draining, bravura movie that once seen, can not be forgotten.


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