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Marat Sade
MARAT SADE, director Peter Brook`s film adaptation of the Royal Shakespeare Company`s production of the Peter Weiss play, stars Patrick Magee as the Marquis de Sade. At an insane asylum in suburban Paris, de Sade leads his fellow patients in a reenac... MARAT SADE, director Peter Brook`s film adaptation of the Royal Shakespeare Company`s production of the Peter Weiss play, stars Patrick Magee as the Marquis de Sade. At an insane asylum in suburban Paris, de Sade leads his fellow patients in a reenactment of the murder of Jacobin luminary Jean-Paul Marat (Ian Richardson) by Girondinist Charlotte Corday (Glenda Jackson) at the height of the French Revolution, for the amusement of an upper-class audience 18 years after the conflict`s end. Like the historical figures in the imaginary conversations of Walter Savage Landor, Marat and de Sade engage in an intense marathon debate on a variety of political and philosophical subjects. On violence, the revolutionary prefers that it be used in service of political ends, while to de Sade, it`s strictly a matter of personal pleasure. This discourse of mandarin madmen is interspersed throughout with the antics of clownish inmates Kokol (Hugh Sullivan) and Cucurucu (Freddie Jones), a reminder of the play`s confined setting. Whether a result of budget constraints or Brook`s personal choice, this is clearly the film version of a stage production, but, unfolding in long, relatively seamless takes, this is not a distraction. In all, this is a high-powered, intellectual roller coaster, performed with manic intensity by the RSC, and featuring an astonishing debut by Glenda Jackson.
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