Adapted from his own Royal Shakespeare Company production of Peter Weiss' play entitled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates at Charenton Under the Direction of the Marquis de Sade, Peter Brook directs this fascinating look into revolution, power, and human frailty. During the 19th century, fashionable ...Read MoreAdapted from his own Royal Shakespeare Company production of Peter Weiss' play entitled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates at Charenton Under the Direction of the Marquis de Sade, Peter Brook directs this fascinating look into revolution, power, and human frailty. During the 19th century, fashionable theatergoers would attend ostensibly therapeutic stage performances by mental asylum inmates. The film opens on July 19, 1809, with Monsieur Coubnier (Clifford Rose), the officious head of the Charenton asylum, introducing that night's show -- a drama about the assassination of French Revolutionary War firebrand Jean-Paul Marat, written by that institution's most notorious resident, the Marquis de Sade (Patrick Magee). The play begins conventionally enough , considering that the lead actress (Glenda Jackson) is a narcoleptic, the actor playing Marat (Ian Richardson) is a paranoiac, and another actor, a sex maniac with very pressing urges, is kept in chains. But the work soon evolves into a dialogue between Marat and De Sade. Though both men were early supporters of the Revolution, their ideas of the shape of the movement took very different courses. Espousing a form of proto-Marxism, Marat is at first presented as the sort of tyrannical idealist that became depressingly familiar in the 20th century, a la Lenin and Pol Pot. But then later, Marat seems haunted by the terror he has unleashed and unable to understand where he went wrong. De Sade, on the other hand, preached his own unusual brand of Nietzschean existentialism. Unlike Marat, he not only recognizes the inherent weakness of the human character, but he revels in it. Murder as an act of individual passion should be celebrated, De Sade at first argues; murder as an anonymous act of statecraft should be deplored. The individual is not given meaning though politics but through acts of spontaneous passion and desire. As the play progresses, the revolution depicted in the play soon develops into an outright revolution on the stage. Jonathan Crow, RoviRead Less
Fair. 027616864444 This item is pre-owned-acceptable condition-may include notes, markings, underlining, highlighting, bent corners, scuffed edges, creased pages, shelf wear, and DVD may show minor scratches/fingerprints that do not affect playback. Please allow 4-14 business days for Standard shipping, within the US. Thank you for supporting our small, family-owned business!
Ian Richardson, Patrick Magee, Ruth Baker, Glenda Jackson, Brenda Kempner, Clifford Rose, Freddie Jones, Michael Williams. New in new packaging. Language: English. Run time: 115 mins. Aspect ratio: 1.85: 1. Originally released: 1966. Brand new, factory sealed!
Very Good. Case is vg+; DVD remains in excellent condition and looks as if it has rarely been played; includes chapter insert; NTSC Region 1 formatting for playback in the US & Canada; because we care that your DVD arrives in the condition we have stated, the case, cover art & DVD will additionally be enclosed in a hard plastic shell for transport that can easily be removed upon receipt of your order.