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Markisinnan de Sade (1992)

Ingmar Bergman's staging at the Royal Dramatic Theatre, Stockholm. While the Marquis De Sade is in prison on charges of crimes of gross perversion, his faithful wife Renee awaits him. ... See full summary »

Director:

Ingmar Bergman

Writers:

Yukio Mishima (play), Gunilla Lindberg-Wada (translation) | 1 more credit »
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Cast

Complete credited cast:
Stina Ekblad ... Renee
Anita Björk ... Madame de Montreuil
Marie Richardson ... Anne
Margaretha Byström Margaretha Byström ... de Simiane (as Margareta Byström)
Agneta Ekmanner ... Countess de Saint-Fond
Helena Brodin ... Charlotte
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Storyline

Ingmar Bergman's staging at the Royal Dramatic Theatre, Stockholm. While the Marquis De Sade is in prison on charges of crimes of gross perversion, his faithful wife Renee awaits him. Despite all the horrors her husband has committed, she believes that his evil is sacred. Her mother however does everything possible to ensure that the Marquis stays in prison. Written by Ulf Kjell Gür

Plot Summary | Add Synopsis

Genres:

History

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Details

Country:

Sweden

Language:

Swedish

Release Date:

17 April 1992 (Sweden) See more »

Also Known As:

La marquise de Sade See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

4:3
See full technical specs »
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Did You Know?

Connections

Referenced in Inför Markisinnan de Sade (1992) See more »

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User Reviews

 
Stunning
24 August 2017 | by bob998See all my reviews

I have been reading a great deal about Bergman's stage productions. I found Madame de Sade stunning, the work of these actresses could not be better. Mishima's play was new to me, and I was initially puzzled why Bergman had chosen it. The obsessive nature of Madame de Sade's love for her husband seems a bit distant from his usual preoccupations, but he brings it all to life superbly.

The scene between Stina Ekblad and Anita Bjork, in which the mother drops her cool detachment to tell her daughter just what she thinks of her daughter's participation in an orgy has a brutal force that sent me back to the Bergman classics of the 1960's. Marie Richardson has a scene in monologue in which she describes the death of a character so graphically and so disturbingly that she stops the show. Acting and directing like this comes so rarely to us.


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