6.2/10
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19 user 39 critic
A man prepares himself to be transferred to a detention center and rest home where he will relive one more time the highlights of his youth.

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(novel), | 1 more credit »
2 wins & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Marquis de Sade
...
Sensible
...
Madame Santero
...
Fournier
...
Emilie de Lancris
...
Le vicomte de Lancris
Philippe Duquesne ...
Coignard
Vincent Branchet ...
Chevalier de Coublier
Raymond Gérôme ...
Président de Maussane
Jalil Lespert ...
Augustin
Dominique Reymond ...
Madame de Lancris
...
Renée de Sade
François Levantal ...
Latour
Frédérique Tirmont ...
Madame d'Amblet
Daniel Martin ...
Monsieur Santero
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Storyline

Many noble families are locked in a chateau due to the French Revolution. The infamous Marquis de Sade is there and is generally shunned by the others. A teen-aged girl befriends him behind her parents back and learns about him and life in general. He initiates her into sexual exploration and leads her to become an independent, sexually-liberated woman. Written by poco loco

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He was a man ahead of his time. His ideas on love and sex shocked his generation See more »


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Details

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Release Date:

23 August 2000 (France)  »

Also Known As:

De Sade  »

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Box Office

Opening Weekend USA:

$16,781, 28 April 2002, Limited Release

Gross USA:

$25,113, 17 November 2002
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Company Credits

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Technical Specs

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Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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User Reviews

 
Rolling and tumbrelling

Only one thing hampered my total enjoyment of this film: Isild le Besco, with her Asian looks, cannot possibly be the child of Jean-Pierre Cassel and Dominique Reymond. Otherwise this is far better than Kaufman's Quills as a portrait of Sade. Daniel Auteuil is always at home in costume parts (remember him as the doomed officer in The Widow of St. Pierre?) and his ease with the part is wonderful. This is a more thoughtful, more world-weary debauched aristocrat than the caricature that Geoffrey Rush gave us. My favorite scene: dinner at the prison, Sade musing about Robespierre's belief in a supreme being--would that be solid, or a gas perhaps?--as he courts Emilie, under the watchful eyes of her parents.

Benoit Jacquot has made a film that is more accessible than some he has done. There is a Bressonian austerity to some of his past films that this one thankfully lacks. The Marquis had the ability to appeal to your love of liberty and hatred for tyranny, at the same time as making you appalled when you sit down to read his novels. Jacquot knows this and plays down the writing.


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