Word: sade
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...MARQUIS DE SADE should be alive today. DePalma and DeSade would make a brilliant director-screenwriter team. In Brian DePalma's latest thriller, The Fury, Fiona Lewis plays a high-class, whorish British bitch-doctor whose titillating, condescending blue eyes make you want to punch her in the nose. Hitchcock would have let Cary Grant do just that--assuming that we in the audience are all voyeurs--and in his later days would have sent her to his legendary shower. DePalma, characteristically, goes further. In one of many representative sequences in The Fury, Robin (Andrew Stevens), Lewis's jealous lover...
...HURDLES--1. Davis (Y) 7.49 2. Modu (P) 7.55 3. Organ (H) 7.66 4. Sade...
There is no easy moral here, Sade tells the audience at the end of the play. He is left "with a question that's always open," unable to decide between Marat's attempts to enforce justice with the guillotine, and his own efforts to change the world through exploring the individual psyche. Answers to the questions in the other levels of the play are no more forthcoming, and in the end, the audience sees not answers but chaos. The lunatics take over, and the asylum's guards can only create order with their clubs...
...Myers carefully outlines the transition from the asylum's paranoid to its demagogue, calling from his tub to the mobs of Paris. His is not an easy role: it is difficult to play a strong character whose body is so weak, and few Marats really compete with their counterpart Sade. As Sade, George Miller is the clear star of the Loeb show, presenting his cynical vision of humanity with great stage presence...
...UNIQUE FEATURES of Marat/Sade is the constant presence of lunatics, not directly involved in the reenactment of Marat's death. They remain on stage, becoming the illustration of all that Marat and Sade discuss--they are the Parisian poor, rightfully indignant against injustice in Marat's eyes, depraved in Sade's. The asylum guards are there, too, to underline the absurdity of the statement by the asylum director (Stephen Toope) that everything has changed, that Napoleon has brought demands for liberty, equality and brotherhood to fruition...