Jealousy and hatred is what separates the Pandavas and Kauravas. The Kauravas fear the Pandavas are after the throne of their father. Yudhishthira of the Pandavas gets told by the deity, Krishna, that he will become king. A war is inevitable.
The Shakespeare tragedy that gave us the expression "How sharper than a serpent's tooth it is to have a thankless child." King Lear has not one but two ungrateful children, and it's ... See full summary »
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
Patrick Magee won the 1966 Tony Award (New York City) for Supporting or Features Actor in a Drama for "Marat/Sade" as Marquis de Sade recreating his role in this production. See more »
Marquis de Sade:
To me, the only reality is imagination; the world inside myself. The revolution no longer interests me.
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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 »
As vital and contemporary today as when it was first performed.
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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