The Shakespeare tragedy that gave us the expression "How sharper than a serpent's tooth it is to have a thankless child." King Lear has not one but two ungrateful children, and it's ... See full summary »
Jealousy and hatred is what separates the Pandavas and Kauravas. The Kauravas fear the Pandavas are after the throne of their father. Yudhishthira of the Pandavas gets told by the deity, Krishna, that he will become king. A war is inevitable.
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. ...Written by
Crucifiction, all good Christians know, is the most sympathetic way to go.
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The opening credits - the play's title, stage credits and the actors appearing in the film - pop on the screen, one word at a time, until it is filled. The closing credits - the film's production staff - start off with a full screen of words; they then pop off the screen, one word at a time, until it is completely empty...just as it was when the film began. See more »
The first VHS video release of the film, through Water Bearer Films, includes an expositional opening monologue over the opening titles on black. See more »
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.
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