Frederic Guillaume LEFEBVRE a must see movie to (re)discover the real sweet and human philosophy of le marquis de sade.the duo auteuil/jacquot builds the simplest and the finest image of should have be the true donatien alphonse françois de sade. DVD bonus provides multiple interesting point of view of the team interviews. direction by benoit jacquot is simple and historically and in context very sharp. It's more than a movie because it makes you understand the enormous paradox between the word "sadic" and one of our gentle , humanist , coherent , true, realist philosopher we ever had .

dromasca 'Sade' is based on the same thesis as 'Quills' (which was better) - in a period of revolution, leading from the decadent monarchy of Louis XVI through the bloody Revolution to the imperial demagogy of the Napoleon era, the legendary marquis de Sade was not a problematic libertine author, but rather an early symbol of freedom of speech. An 18th century Flint, if you want! Well, if you accept this angle, the two films can be judged as worth watching.The French version is rather conventional, but well made and acted, in the style of the French historical cinema (the good one). You certainly can get confused, as you may not understand all the political nuances, which are certainly familiar to any French collegian, but you cannot be indifferent to the well played theme of expecting death, counting back the days and hours before the guilotine falls. Art ('Art'?) and Love ('Love'?) are victors over fear and death - this is the central message. Mass graves and fear are unfortunately still true in the 21th century as well. So is the permanent fight between freedom of expression and dictatorial puritanism.The rithm of the film is rather slow, but acting is solid. 'Quills' was better, because it went even further with its central theme. However, 'Sade' is also worth watching. 7/10 on my personal scale.

jotix100 For a historical French film, this effort by Benoit Jacquot comes on target. The tragic figure that was the Marquis de Sade is given a very sympathetic view from the director and it helps that Daniel Auteuil is portraying the main character.The screenplay based on the novel by Serge Bramly, by Jacques Fiesch shows us the days of the Reign of Terror in France and what happened to these royals are they are sent to the country estate because they all have fallen out with the revolutionary government for different reasons. The Marquis de Sade would, by today's standards, have been an eccentric living among the high society of Paris without raising an eyebrow, but unfortunately, his life happened during that period of turmoil where he was singled out as evil for just questioning the values and the hypocrisy of the French aristocracy. The portrayal of de Sade by Mr. Auteuil is very restrained and dignified in contrast with other accounts of the Marquis by other actors in other films. He is interested in Emilie de Lancris, who just happens to be in the same place with her parents. Isild Le Besco, the actress playing her, has an enigmatic kind of beauty. She wants to learn and chooses the Marquis to be her guide into an unknown world.An ensemble cast was assembled for this film. Among the most the best: Jeanne Balber, as the naughty Madame Santero. Silvie Testud and Gregoire Colin in minor roles and the great Jean Pierre Cassel as Emilie's libertine father.This has been one of the most underrated films that have come from France lately, and unfortunately, it only lasted not even 2 weeks at Manhattan's mecca for "arty" films, the Lincoln Plaza complex, where there were only about 6 people in the theatre when we saw it. Yet, the same theatre was full when the overrated Amelie played for months.

Ralph Michael Stein Not too long ago we had an excellent portrayal of the Marquis de Sade by Geoffrey Rush in "Quills," a well acted, fast-paced, tense distortion of Sade's stay at the notorious Charenton insane asylum. Plucking at our compassion demanding decent treatment of the mentally ill and our general revulsion against extreme physical "cures" for madness, "Quills" reminded us of the bad old days when the insane were brutalized by the inhumane.Now we have a very different marquis in "Sade," a film that has received some extravagant and, in my view, not fully deserved praise. It is a very interesting film, worth seeing (the full-scale guillotine in action is worth the price of admission). But it's not great.Daniel Auteuil (Sade) is a very fine actor, one of the most interesting and versatile in both English and French language roles. His Sade is remarkably laid back given the Terror, the uncertainty of survival in a rest home cum upper class jail. For a man whose writings are permeated with lurid descriptions of sexual acts of every kind and who describes his own participation on most pages of many books, Auteuil's Sade comes across as a man on holiday from his perversions. Geoffrey Rush was closer to the soul of Sade (he had one, you know).Sade befriends a very able actress, Isild Le Besco, "Emilie," an awakening teenage noblewoman at first repelled by and then saturninely attracted to her new mentor. Sade informs her that he is indeed a "libertine" who has done it all but, unfortunately, he expresses himself with the same passion that a first time-invited dinner guest to my home will mention that he is a vegetarian.The real marquis was a fiery character and not just on paper. Imprisoned (as he was most of his life), he rallied angry protestors outside the walls of his jail with such effect that he was immediately whisked off the premises to another facility. Thus he missed the storming of the Bastille the next day (which would have resulted in at least his temporary liberation), an event that has given France a great holiday and made it easier for many to remember my birthday.The machinations of Robespierre (and one of his lieutenants who shares a bed with Sade's still involved mistress, by whom he has a cute kid,) are almost tepid given the fervor of that madman's mode of governance. So tame is this Robespierre that I almost felt badly for him when he went for the Big Haircut.Auteuil is much too detached for his character and for the times. When he expounds on his libertine philosophy to Emilie and anyone who will listen he sounds like a present day alternative-press sex columnist on a time warp trip. Sade stirred things up wherever he was confined. In this film even the one scene of intense sexual passion appears to almost bore him.The cinematography is impressive. Perhaps to avoid being described as a period piece, instead of music associated with the French Revolution (not a bar of the Marsellaise) the music of Poulenc provides some of the background. Poulenc and the French Revolution?An interesting but overpraised film.