More concerned with Sade's ideas than with his actions. The movie achieves as great an impact by keeping these thoughts hidden as... [Quills] did by showing them.
Sade (2002)
Tomatometer
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Reviews Counted:30
Fresh:20
Rotten:10
Average Rating:6.3/10
Theatrical Release:Apr 26, 2002 Limited
Synopsis:
Benoit Jacquot's SADE is a provocative historical drama set during the French Revolution starring Daniel Auteuil as the notorious Marquis de Sade. The film also stars the striking young actress...
Benoit Jacquot's SADE is a provocative historical drama set during the French Revolution starring Daniel Auteuil as the notorious Marquis de Sade. The film also stars the striking young actress Isild Le Besco (Girls Can't Swim) who was nominated for a 2002 French Cesar for Most Promising Newcomer.
1794. The Revolution has entered the bloodiest phase of the Terror, and the Marquis de Sade, despite his pro-revolutionary fervor, is once again in prison. The puritanical Robespierre - who is sending thousands to their deaths - sees this aristocrat-turned-agitator, libertine and atheist as "a highly immoral man" and "unworthy of society," so Sade knows his days may finally be numbered. Sade is soon moved to Picpus, a sanitarium where aristocrats can buy temporary respite from the guillotine. Sade's stay has been arranged by a loyal former mistress (Marianne Denicourt) who sleeps with Fournier (Gregoire Colin), a member of Robespierre's inner circle. Fournier despises Sade but pulls strings to increase the Marquis¹ odds of survival for the sake of the woman he loves.
Although he is shunned by the other inmates, to Sade the new accommodations seem like paradise ("a select society, charming women"), at least until Republican soldiers dig a huge pit into which hundreds of headless bodies are tossed. A guillotine is also erected on the convent grounds, but Sade is more interested in Emilie (Isild Le Besco) the fresh-faced daughter of a Viscount. She is both repelled and attracted to Sade's philosophy of the bedroom. However, as the guillotine looms for them all, she grows determined to experience sensual pleasure before her death. -- © Empire Pictures
Starring: Daniel Auteuil, Marianne Denicourt, Jeanne Balibar, Gregoire Colin
Starring: Daniel Auteuil, Marianne Denicourt, Jeanne Balibar, Gregoire Colin, Maiwenn Le Besco, Jean-Pierre Cassel, Jalil Lespert, Dominique Reymond, Sylvie Testud, Daniel Martin
Director: Benoit Jacquot
Director: Benoit Jacquot
Screenwriter: Jacques Fieschi, Bernard Minoret
Producer: Patrick Godeau
Composer: Francis Poulenc
Studio: Empire Pictures
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Reviews for Sade
The movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man.
In Auteil's less dramatic but equally incisive performance, he's a charismatic charmer likely to seduce and conquer.
This time out, [Sade] is an unsettlingly familiar figure -- in turns loyal and deceitful, responsible and reckless, idealistically selfless and coldly self-interested.
The reason to see “Sade” lay with the chemistry and complex relationship between the marquis (Auteil) and Emilie (Le Besco).
Featuring a dangerously seductive performance from the great Daniel Auteuil, "Sade" covers the same period as Kaufmann's "Quills" with more unsettlingly realistic results.
A fiercely clever and subtle film, capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries.
If you're looking for a smart, nuanced look at de Sade and what might have happened at Picpus, Sade is your film.
Rarely has the horror of the Terror been so graphically and effectively evoked.
Sade achieves the near-impossible: It turns the Marquis de Sade into a dullard.
It's a decent glimpse into a time period, and an outcast, that is no longer accessible, but it doesn't necessarily shed more light on its subject than the popular predecessor.
Despite Auteuil's performance, it's a rather listless amble down the middle of the road, where the thematic ironies are too obvious and the sexual politics too smug.
In its quiet, literate way, the film is almost as subversive as its central character.
That the film opens with maggots crawling on a dead dog is not an out of place metaphor.
This Sade is hardly a perverse, dangerous libertine and agitator -- which would have made for better drama. He's just a sad aristocrat in tattered finery, and the film seems as deflated as he does.
It is intensely personal and yet -- unlike Quills -- deftly shows us the temper of the times.
It's a rosy coming-of-age romp that refuses to see the horror even in the severed heads from the guillotine.
| Tomatometer Percentage | Movie |
|---|---|
| 36% 36% | Angels & Demons |
| 25% 25% | Four Christmases |
| 68% 68% | Funny People |
| 95% 95% | Star Trek |
| 14% 14% | The Ugly Truth |
| Tomatometer Percentage | Movie |
|---|---|
| 32% 32% | Terminator Salvation |
| 44% 44% | Night at the Museum: B… |
| 86% 86% | A Christmas Tale |
| 60% 60% | Paper Heart |
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