Tag Archives: French Revolution

CAPSULE: 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 (1967)

Recommended

AKA Marat/Sade

DIRECTED BY: Peter Brook

FEATURING: , , Glenda Jackson, Michael Williams

PLOT: The director of the Charenton asylum permits the prisoners to put on a play about the murder of one of the architects of the French Revolution; the machinations of the play’s notorious author, combined with the unique insanities of the cast, consistently threaten to derail the production.

Still from Marat/Sade (1967)

WHY IT WON’T MAKE THE LIST: Marat/Sade is easy to admire but difficult to love, purposely distancing itself from its audience with a presentational style, a remote historical setting, and characters who are all but impossible to empathize with. By putting the great debates over the efficacy and morality of revolutionary fervor into the mouths of the sick and deranged, the movie declares its allegiance to a stranger flag. But while it is confrontational and occasionally repellent, Marat/Sade is still a thoughtful, methodical, and ultimately a sober work.

COMMENTS: Every once in a while, a play shows up on Broadway that is so alive with the enthusiasm and commitment of its cast, so daring in its subject matter, so determined to break away from the complacency and redundancy of its contemporaries, that it becomes a smash on the scale of the more attention-getting musicals. Recent years have seen plays such as “Angels in America,” “August: Osage County,” and “Take Me Out” demand the spotlight; in 1966, it was “Marat/Sade” that was all the buzz in the theater world. After the Royal Shakespeare Company’s adaptation of Peter Weiss’ original German-language play essentially launched the British fringe, it traveled across the Atlantic to dazzle America, becoming not only a hit but also shorthand for subversive, challenging theater.

So a movie version has a lot to live up to, and it’s a tribute to director Peter Brook’s vision that he manages to find the cinematic elements in the staging of a play. For Marat/Sade is working at multiple levels: a film of a play screening before an audience in which a play is being performed for an audience. It’s easy to lose track of which one you should be following. Consider the choices de Sade makes in casting his production. His Marat is portrayed by a paranoiac, Corday is a narcoleptic, Duperret a sex criminal. How much importance we should ascribe to these choices? Is this de Sade jesting with the historical figures? Is it Weiss assigning another layer of meaning to characters already laden with subtext? Is the whole thing a joke, designed to set up situations like Corday’s frequent mid-play naps? If theater is an author’s medium and film is a director’s medium, but one of the protagonists is a writer and director of the very work we’re watching, just who the hell is responsible?

Brook takes great pains to remind us that we are watching a play. The character of the Herald is constantly there to remind the actors of their lines. A chorus frequently chimes in with musical numbers that sound like lesser Newley/Bricusse tunes. And we get shots of the audience watching from the other side of the prison bars. But we get just as many hints that this is an impossible play. The script seems all too prepared to address the objections of the asylum director in dialogue. Our Marat seems not an actor at all, but the very man back from the dead, and de Sade engages him in debate as if he were the genuine article. And how the heck did this collection of crazies learn all these elaborate speeches, anyway? Whenever you think you’ve got your footing, Marat/Sade is there to give you a good shove.

Possibly the finest compliment you can give Marat/Sade is that you finish it thrilled and exhausted, but also unsure if you understood any of it. In trying to figure it out, I find it helpful to go back to that monstrously long (possibly even Guinness record-worthy) title, which is usually trimmed down to highlight the ostensible antagonists of the piece. In doing so, possibly the most important word to understanding the work as a whole is lost: “asylum.” In assessing the French Revolution, a particularly bloody uprising that overthrew a monarchy and then blundered through violence until another dictator arrived to grab control, it seems as though no one involved had the wisdom or foresight to anticipate the bloodshed that would result. By putting the subject in the hands of the insane, it specifically labels the enlightened masters of the uprising as insane themselves, and by placing the play under the auspices of a politician who represents the new dictatorship, it goes for broke and says everyone is crazy. Revolution is bloody, violent, destructive. To think otherwise, or to think that it won’t reach you, is dangerous folly, and Marat/Sade wants you to know that even if—especially if—you think you’re in control, then you’re next.

WHAT THE CRITICS SAY:

“The typical dish or cable viewer, then, might utter ‘What the hell is this?’ and gaze upon the weirdness only momentarily, without even having put down the remote… Strange scenes can be felt but not always understood, and perhaps its impossible to do so.” – Brian Koller, Films Graded (DVD)

(This movie was nominated for review by Caleb Moss, who called it “pretty strange, to say the least.” Suggest a weird movie of your own here.)

145. MARQUIS (1989)

Recommended

“This is one of the strangest movies I have ever seen. I found it to be discomforting and just weird… This movie gives me the chills. However, I would watch it again just because it is so fascinatingly WEIRD.”–IMDB reviewer ethylester (June 2002)

DIRECTED BY: Henri Xhonneux

FEATURING: Voices of, Valérie Kling

PLOT: The dog-faced Marquis de Sade is imprisoned  in the Bastille for blasphemy, where he entertains himself by writing pornographic novels and holding long conversations with his talking penis. Among the other prisoners is Justine, a pregnant cow who claims she was raped and is carrying the King’s child. The prison’s Confessor plots to hide the bastard heir by claiming De Sade is the father; meanwhile, outside the Bastille walls revolutionaries would like to free the political prisoners for their own purposes.

Still from Marquis (1988)

BACKGROUND:

  • The historical Marquis de Sade was imprisoned at the Bastille, where he wrote the novel “The 120 Days of Sodom,” from 1784-1789. The Bastille was just one stop in a series of trips to prisons and insane asylums that dogged the aristocrat his entire life.
  • The two main female characters in Marquis, Justine and Juliette, are named after the title characters of two of de Sade’s most famous novels. Perverted scenes from the Marquis’ actual stories are recreated with the movie, using Claymation.
  • Little is known about director/co-writer Henri Xhonneux, who besides this film has only a few even more obscure credits to his name.
  • Artist/writer , of Fantastic Planet fame, was the better known co-scripter of Marquis. Topor also served as art director for the movie.

INDELIBLE IMAGE: Surely it must be one of the many tender moments when the Marquis holds a heart-to-heart talk with his own member (named Colin), although there are so many of these dialogues that we will need to narrow down our search further. We’ll select the moment when Colin, lacerated from having pleasured himself inside a crack in the stone prison wall, stares weakly at the Marquis while wearing a little bloody bandage wrapped around his head like a nightcap, begging the writer to tell him a story so he can recover enough  strength to fornicate with a cow.

WHAT MAKES IT WEIRD: Every character in the movie is based on a different animal and wears a animatronic masks that looks like it came out of a pile of designs  rejected for Dark Crystal as “too creepy.” In between Machiavellian political machinations, these beasts have kinky sex with each other. The Marquis de Sade, a handsome canine, holds long conversations with his cute but prodigious member Colin, who has not only a mind but a face and voice of his own. As pornographic costume biopics recast as depraved satirical fables go, Marquis registers fairly high on the weirdometer.

[wposflv src=http://366weirdmovies.com/wp-content/uploads/2013/06/marquis_clip.flv width=450 height=300 previewimage=http://366weirdmovies.com/wp-content/uploads/2013/06/marquis_preview.png title=”Marquis clip”]
Short clip from Marquis

COMMENTS: Although you could consider it a porno puppet shock show or a misanthropic fable concerning man’s animal nature, perhaps the best Continue reading 145. MARQUIS (1989)