Marat/Sade (1967)

• Year: 1967
• Released: 13 Apr 1967
• Country: United Kingdom
• Adwords: 4 wins
• IMDb: https://www.imdb.com/title/tt0060668/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/maratsade
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Not Rated
• Genre: Drama, History, Music
• Runtime: 119 min
• Writer: Peter Weiss, Geoffrey Skelton, Adrian Mitchell
• Director: Peter Brook
• Cast: Patrick Magee, Clifford Rose, Glenda Jackson

	7.5/10
	93% – Critics
	79% – Audience

Marat/Sade Storyline

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. In the primary roles are a paranoiac with a skin condition (much as Marat had himself) as Marat, a narcoleptic with melancholia as Corday, and a sexual manic as M. Dupere. Coulmier feels he needs to intervene anytime during the performance when things get out of hand. The Marquis may have ulterior motives in the telling of this story, he who plays a large role on stage, especially in his discussions with the Marat character about the nature of the revolution and the differences in their individual motives concerning the revolution. As the inmates perform a story of revolution, they may subconsciously be sucked into the story mirroring their own struggles with authority. Real life and the actors’ afflictions may also dictate how the performance turns out.

Marat/Sade Play trailer

Marat/Sade Photos

Marat/Sade Torrents Download

Marat/Sade Subtitles Download

Marat/Sade Movie Reviews

Amazing Acting/Spectacular Film

When Marat/Sade was first shown–those of us used to the traditional Hollywood film entertainments were just stunned. What a tour de force of acting, story, makeup, style, filming and music. We didn’t know what to make of it. On the one hand it was the scariest, most disturbing film we had seen, on the other

hand it was a grand entertainment with absolutely intriguing characters. Was it historically accurate? Is it a dream? Was that really supposed to be the

Marquis de Sade up on the screen? The film has amazing bookends: The

opening film credits appearing in complete silence one word at a time and then disappearing one word at a time, has to be sort of a classic of film titles– anticipating the minimalist art movements in the visual arts. Before the film even begins, we are off kilter, completely disoriented. The horrifying ending at the time was a shocker. One is really unprepared for this spectacular brutality–and the fact that it just ends in the midst of the chaos with zero resolution again is totally disorienting. This remains a great film–with some of the most amazing acting ever caught on screen. For most of us here in the U.S., it was the first time we saw Glenda Jackson. Her voice, her presence, her amazing acting

technique–she became instantaneously recognized as one of the great screen

actresses. And sure enough shortly thereafter, she won her two academy

awards. If you enjoy great theatre, and great film treatments of theatrical

material–this film is simply not to be missed.

Marat, We’re Poor, and the Poor Stay Poor

Some really intellectual reviewers have captured this film, so I don’t have a lot to say. I worked on this play in college and found it mesmerizing. There is a weighty drag on the human spirit because the characters are actually mental patients in the time of the Marquis de Sade. They probably weren’t necessarily crazy, which adds a considerable type of angst to the performances. I think the music is astounding and poignant. At some point we begin to realize that the harsh society (or even our society) is really the star here. This is possibly voyeurism at its worst.

Strange History

In an insane asylum, the Marquis de Sade directs Jean Paul Marat’s last days through a theater play. The actors are the patients.

Did something like this actually happen? I could imagine the Maquis de Sade putting this sort of thing together, because what else is he going to do with his time? But did they actually allow this? And, of course, the real inmates could not possibly have been such good actors and singers… could they? As others have noted, this film can be enjoyed by anyone but probably has much more significance for those who grasp the politics and philosophy of the French Revolution. To try to fully comprehend the class distinctions and other angles without some background would be a challenge. To say I fully grasped the competing views of the inmates, Sade and the warden would be a lie.