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Marat/Sade is a 1967 film directed by Peter Brook, based on a play by Peter Weiss. It concerns a play about French Revolution leader Jean-Paul Marat, written by the Marquis de Sade and performed by the inmates of an insane asylum.


  • Crucifixion, all good Christians know, is the most sympathetic way to go.
  • The revolution came and went, And unrest was replaced by discontent.

Jean-Paul Marat[edit]

  • We invented the Revolution, but we didn't know how to run it. Everyone wants to keep something from the past, a souvenir of the old regime. So, this man decides to keep a painting; this man keeps his mistress; this man keeps his horse; this man keeps his garden. That man keeps his farm lands; that man keeps his house in the country; that man keeps his factories; that man couldn't bear to part with his shipyards; that man keeps his army; that man keeps his King. And so we sit here and write into the declaration of the rights of Man, "the sanctity of private property". And now we see where that leads: Every man is equally free to fight, determinately and with equal arms, of course. Every man, his own millionaire. Man against man, group against group, in happy, mutual robbery. And we sit here, more oppressed than when we begun, and they think the Revolution's been won.

Marquis de Sade[edit]

  • And what's the point of a revolution without general copulation?
  • To me, the only reality is imagination; the world inside myself. The Revolution no longer interests me.
  • Man has given a false importance to death. Any animal, man or plant that dies adds to Nature's compost heap becomes the manure without which nothing could grow, nothing could be created. Death is simply part of the process. Every death, even the cruelest death, drowns in the total indifference of Nature. Nature would watch unmoved if we destroyed the entire human race. I hate Nature!
  • Man is a destroyer. But if he kills and takes no pleasure in it, he's a machine. He should destroy with passion, like a man.
  • I've twisted and turned them every way, and can see no ending to our play.


Patient #1: Who keeps us prisoner?
Patient #2: Who locks us in?
Patient #3: We're normal and we want our freedom!

Singers: We've got nothing, always had nothing, nothing but holes and millions of them.
Kokol: Living in holes.
Polpoch: Dying in holes.
Cucurucu: Holes in our bellies.
Rossignol: And holes in our clothes.

Monsieur Coulmier: You really can't call this education. It isn't making my patients any better. They're all becoming over-excited. After all, we invited the public here to show them that our patients are not all social lepers.
Herald: We only show these evil massacres because this indisputably occurred. Please, calmly watch these barbarous displays, which could not happen nowadays. The men of that time, mostly now demised, were primitive; we are more civilized.

Marquis de Sade: It's easy to get mass movements moving. Movements that move in vicious circles. I don't believe in idealists who charge down blind alleys. I don't believe in any of the sacrifices that have been made for any cause. I believe only in myself.
Jean-Paul Marat: I believe in the Revolution! We have routed out the old tyrants, and now we have new tyrants. But still I believe in the Revolution. The spoils have been grabbed by businessman, middle-men, financiers, salesmen, operators, manipulators. But the Revolution must continue.


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