Marat/Sade (1967)
10/10
Unlike Any Movie You Will Ever See
3 May 2012
Peter Brook, for many years the artistic director of the Royal Shakespeare Company, has more than once astounded the theater world with his interpretations of familiar plays by Shakespeare and others. Here's the chance for movie-goers to witness his transformative skills in action. Marat/Sade, which I'd seen previously on stage, is a Brechtian political drama about the French revolution performed in a madhouse under the direction of the notorious Marquis de Sade. Brook's retelling takes advantage of the setting by emphasizing the particular insanities of the major players. Marat, portrayed by Ian Richardson, is coldly rational except when he's not. Patrick Magee's de Sade reflects that personality's obsession with cruelty. But the real brilliance of Brook's choices is captured best by Glenda Jackson, who appears as a victim of narcolepsy cast in the role of Charlotte Corday, Marat's assassin. Jackson's character can barely rouse herself to perform. She's confused. Her diction is odd. She's not convincing as Corday, nor is she supposed to be. She's thoroughly convincing, however, an insane person playing someone who is obsessed with Marat. Other brilliant performances are turned in by Michael Williams as the Herald who announces key scenes; Robert Landon Lloyd as Roux a cleric turned revolutionary who is seen most of the time in a strait-jacket because of his violent behavior, John Steiner as Monsieur Depere, a sexual predator who lusts after Jackson's Corday and a quartet of three men and a woman in comedia del' arte garb who comment on the action in song and verse.

It is a bizarre film, difficult to watch at times, but brilliant in its execution. I do not believe there is another director alive or dead who could have done what Brooks did with this script and this talented group of actors. Too bad he didn't do more movies.
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