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The immense structure of this film is one the Marquis de Sade would have greatly appreciated. It blends the horrors of the madhouse with the eccentricities of everyday life. Some are born in perversity, some achieve diversity, and some have both thrust upon them. It's often hard to bring your message to the crowd, especially when locked up and prevented from doing so. Theatrical presentations (like those at Charenton, immortalized for living memories in the work of Peter Weiss) are one way of achieving notoriety and literature has spread its proverbial wings since the days of Gutenberg and Griffith. Cinema achieves similar results to vellum, but the stirring message behind the hidden veil suspended before us in the dark often needs some prodding by an attentive listener. Words can be dangerous things. When such words are transmitted freely and sown both softly and unexpectedly into the thoughts of the unaware and uninitiated, their growth can implement itself with a power instantaneously comprehended only by a select few. In the past, such considerations were responsible for the dire plight of the divine Marquis. His problem was not so much that he couldn't keep his mouth shut, but that he couldn't keep his quill from quivering.
When a creative man is confined between four walls, it does not bear imagining what the imaginings can be. The Marquis did not have a happy life nor, if we analyze his writings rather circumspectly, a fulfilling one. Undoubtedly, his sweetest treasures could be held in the grip of one hand. An anarchist of admirable standing (we shall use this word sparingly), he was kept from having too strong an influence upon the masses through measures taken by others to keep his messages silenced (though perhaps not silenced with such overt physical cruelty as ultimately imposed upon him in this film). Director Philip Kaufman has delivered another devastatingly enjoyable movie. Shifting elegantly time and again into events that almost pop-out of the Marquis' own tales, we meet chambermaids, priests, nuns, aristocrats, dirty old men, virgins, architects, pyromaniacs, rapists, murderers, and all variety of people we might easily encounter on the streets of any civilized metropolis today. All in all, it's a familiar surrounding, although many viewers might not recognize that so quickly, considering the costumes and period in which it's been placed. Of course, this is only fitting because it is tied in a fashion to the life and times of the lascivious Frenchman. Like any obsessive, Donatien proves that you can never get enough of a good thing. In his case, the preference was for the written word and the sexual fantasy, in no decipherable order of preference. Quite an accommodating combination it is, too, when one realizes that one obsession easily supplements the other in a never-ending relay race of ecstatic indulgences. Speaking of indulgences, the priest in charge of the proceedings at Charenton appears less than competent in controlling or correcting the escapades of the naughty Marquis and equally at odds with his own internalized emotional turmoil. What a state for the church to be in! Of course,
The good Abbé Coulmier (Joaquin Phoenix) does his best to alter the ways of the evil minded Marquis (Geoffrey Rush), but finds his mettle tested once he must act in accord with the dictates of the evil and vengeful Dr. Royer-Collard (Michael Caine). Central to the proceedings are the activities of the delectable chambermaid Madeleine (Kate Winslet), who goes about her daily chores collecting linen and tales while enticing both the Marquis and the priest. The spellbinding actors in the leading roles as well as the abundance of talent romping around in supporting roles captivate us as we travel the corridors of the asylum. Geoffrey Rush is sublime, especially as he prances about ensconced in his own creations ("One chapter for each cheek.").
The script, adapted by author Doug Wright from his Obie-award winning play, reflects an appreciation of the enchanting De Sade's work which is equally apparent both in Wright's deliciously clever word-play ("Imagine, an entire religion built upon an oxymoron.") and Kaufman's playfully serious direction ("I thought it vital that everyone discuss everything with each other and work out all of the relationships and cross- relationships."). One moment it is impossible not to delight at the prickling capers,
Layer upon layer is built up throughout the film with the awe-inspiring contributions of the entire cast and crew, including production designer Martin Chills, art director Steven Lawrence, set decorator Jill Quertier, costume designer Jacqueline West, DP Rogier Stoffers, and editor Peter Boyle. This is no blood-and-guts, oversexed, slasher-dasher: this remains a beautifully crafted film that exquisitely captures the essence of the divine Marquis. One can almost imagine him smiling, were he still around to watch it; surely his followers will feel their lips curl in delight. Take a seat in a "calming" chair, have a glass of wine perhaps, and contemplate how divine lubrication is in facilitating the appreciation of fine dialogue among other things. Now added to the list of fascinating films (for varying reasons) related to the French Marquis which already includes Peter Brook's "Marat/Sade" (1966), Pasolini's "Salo" (1975), Roland Henri Xhonneaux's "Marquis de Sade" (1989) and Cy Endfield's "DeSade" (1969) is Philip Kaufman's "Quills". Free your spirit and go to see this film.
It only remains to imagine what might be in store for us with Kaufman's next movie about the life and times of Liberace (written by Jason Friedberg and Aaron Seltzer).
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A DON'T MISS