The film was a modest art house success, averaging $27,709 per screen its debut weekend, and eventually grossing $17,989,277 internationally. Noted for its artistic licenses, Quills filmmakers and writers said they were not making a biography of de Sade, but exploring issues such as censorship, pornography, sex, art, mental illness, and religion.[5]
Plot
In Paris, the incarcerated Marquis de Sade is confined to the asylum for the insane at Charenton, overseen by the Abbé du Coulmier. The Marquis has been publishing his work through laundress Madeleine LeClerc, who smuggles manuscripts through an anonymous horseman to a publisher. The Marquis' latest work, Justine, is published on the black market to great success. Emperor Napoléon I Bonaparte orders all copies to be torched and the author shot. However, his advisor, Delbené, proposes another idea: send alienist Dr. Royer-Collard to assess Charenton and silence the Marquis. Meanwhile, the Abbé teaches Madeleine to read and write. Madeleine reads the Marquis's stories to her fellow workers.
Royer-Collard arrives and says that the Abbé must silence the Marquis or Charenton will be shut down. The Abbé rejects Royer-Collard's offers of aggressive archaic "treatments" and speaks with the Marquis, who swears obedience. Royer-Collard then travels to a convent to retrieve his promised bride, the underage orphan Simone. Bonaparte gives them a run-down chateau, with young architect Prioux on hand for its renovation. On their wedding night, Royer-Collard rapes Simone, and afterward keeps her as a virtual prisoner in their home.
The hasty marriage incites gossip at the asylum, prompting the Marquis to write a farce to be performed at a public exhibition, which Royer-Collard and Simone attend. The play, a parody of Royer-Collard's treatment of Simone, is titled "The Crimes of Love". The performance is interrupted when the inmate Bouchon molests Madeleine off-stage, prompting her to hit him with an iron. The Abbé is seen publicly comforting Madeleine. Royer-Collard shuts down the public theater and demands that the Abbé do more to control the Marquis. Infuriated, the Abbé confiscates the Marquis' quills and ink. The Marquis's wife visits him and he takes out his frustration at not being able to write on her; she retaliates by asking Royer-Collard that the Marquis be entombed forever.
They discuss that the ill-gotten gains from the Marquis's books could be used to effect his salvation, in other words, provide forms of restraint. The lack of writing implements results in more subversive behaviour from the Marquis, including a story written in wine on bedsheets and in blood on clothing. This results in further deprivation, eventually leaving the Marquis naked in an empty cell. Charlotte, one of the maids, reveals that Madeleine has been helping the Marquis. Madeleine is whipped on the order of Royer-Collard until the Abbé stops him by offering himself instead. The Abbé decides that Madeleine must be sent away. That night she visits his chamber to beg him to reconsider sending her away, confessing her love for him in the process. He then kisses her. However, they break away at the realization of what they are doing. Madeleine runs off and Charlotte catches the Abbé calling after her.
Meanwhile, Simone purchases a copy of Justine, seduces Prioux, and the young lovers run off to England together. She leaves behind a letter explaining her actions and the book. Upon finding this, Royer-Collard refocuses attention upon the Marquis as the source of his troubles and embarks upon a quest for revenge by having him tortured. About to be sent away from Charenton for her role in assisting the Marquis, Madeleine begs a last story from him, which is to be relayed to her through the asylum patients. Bouchon is excited by the story, breaks out of his cell, and attacks Madeleine. Royer-Collard hears her screams but chooses to ignore them and she is killed by Bouchon. The asylum is set afire by the pyromaniac Dauphin and the inmates break out of their cells.
Madeleine's body is found in the laundry vat by her blind mother and the Abbé. The Abbé is devastated and Bouchon is imprisoned inside an iron maiden. Blaming the Marquis for Madeleine's death, the Abbé confronts him; the Marquis claims that he had been with Madeleine in every way imaginable, only to be told that she died a virgin, provoking an emotional outpouring of grief. The Abbé has the Marquis' tongue cut out as punishment for Madeleine's death, but is stricken with remorse and whips himself. The Abbé then dreams of Madeleine returning to life and having sex with him. Ultimately, the dream ends with him holding her corpse. The Marquis' health declines, but he remains perverse, decorating his dungeon with a story, using his feces as ink. As the Marquis lies dying, the Abbé reads him the last rites and offers him a crucifix to kiss. The Marquis defiantly swallows the crucifix and chokes to death on it.
A year later, the new Abbé arrives at Charenton and is given a tour by Royer-Collard. During it, they meet the maid Charlotte. The asylum has been converted into a print shop, with the inmates as its staff. The books being printed are the works of the Marquis. At the end of the tour, the new Abbé meets his predecessor, who resides in the Marquis' old cell. Yearning to write, he begs paper and a quill from the new Abbé, and tries to strangle Royer-Collard when he ventures too close the peephole. The Abbé is herded off by Royer-Collard before he can hear any more from his predecessor. However, the peephole opens, and Madeleine's mother thrusts paper, quill, and ink through. The Abbé begins to scribble, with the Marquis providing the narration.
Kate Winslet as Madeleine "Maddy" LeClerc; Screenwriter Doug Wright called Winslet the "patron saint" of the movie for being the first big name to back it,[7] expressing interest as early as April 1999.[8]
Michael Caine as Dr. Royer-Collard; Kaufman drew comparisons between Royer-Collard and Kenneth Starr, particularly the publication of de Sade's works at the Charenton Printing Press and the release of Starr's report online.[5]
The interior set of Charenton was built at Pinewood Studios, where most of the filming took place. Oxfordshire, Bedfordshire, and London stood in for the exterior shots of early 19th century France.[10] Production designer Martin Childs imagined the primary location of Charenton as an airy, though circuitous place, darkening as Royer-Collard takes over operations. The screenplay specifies the way the inmates' rooms link together, which plays a key role in the relay of the Marquis' climactic story to Madeleine.[11] Screenwriter/playwright Doug Wright was a constant presence on set, assisting the actors and producers in interpreting the script and bringing his vision to life.[12] Casting directors Donna Isaacson and Priscilla John recruited a number of actors from a disabled actor's company to play the parts of many of the inmates at Charenton.[12]
Costume designer Jacqueline West created the intricate period costumes, using each character as inspiration. West previously worked with director Philip Kaufman on his crime drama Rising Sun. For Joaquin Phoenix's Abbé, costumers designed special "pleather" clogs to accommodate the actor's veganism. In one scene, Rush's Marquis de Sade wears a suit decorated in bloody script, which West described as "challenging" to make. It features actual writings of de Sade and costumers planned exactly where each sentence should go on the fabric. Before production began, West gave Winslet a copy of French painter Léopold Boilly's "Woman Ironing" to give her a feel for the character, which Winslet said greatly influenced her performance.[13]
Music
The Quills soundtrack was released by RCA Victor on 21 November 2000 featuring the music of Oscar-winning composer Stephen Warbeck (Shakespeare in Love).[14] Featuring experimental instrumentation on such instruments as the serpent, the mediaeval shawm, and the bucket,[15] most reviewers were intrigued by the unconventional and thematic score. Cinemusic.net reviewer Ryan Keaveney called the album a "macabre masterpiece", with an "addicting and mesmerizing" sound.[16]Urban Cinephile contributor Brad Green described the album as a "hedonistic pleasure" that "captures the spirit of an incorrigible, perverse genius."[15] Soundtrack.net's Glenn McClanan disliked the "lack of unifying unified themes and motifs" that may have served each individual scene, but made the film feel "incoherent."[17]
Track listing
"The Marquis and the Scaffold" – 3:08
"The Abbe and Madeleine" – 2:19
"The Convent" – 2:22
"Plans for a Burial" – 1:18
"Dream of Madeleine" – 4:42
"Royer-Collard and Bouchon" – 4:15
"Aphrodisiac" – 2:59
"The Last Story" – 7:35
"The Marquis' Cell at Charenton" – 4:38
"The End: A New Manuscript" – 7:32
"The Printing Press" – 2:22
Though not included on the soundtrack, the opening notes of "Au Clair de la Lune," a traditional French children's song, recur throughout the film, usually hummed by the Marquis. The song is originally sung by John Hamway during the opening scene of a beheading which was filmed in Oxford. The English translation provides some illumination as to its selection as a theme for the Marquis:
By the light of the moon,
My friend Pierrot,
Lend me your quill,
To write a word.
My candle is dead,
I have no more fire.
Open your door for me
For the love of God.
By the light of the moon,
Pierrot replied:
"I don't have any pens,
I am in my bed
Go to the neighbor's,
I think she's there
Because in her kitchen
Someone is lighting the fire..."
Release
Box office
Distributed by Fox Searchlight Pictures in 2000, Quillspremiered in the United States at the Telluride Film Festival on 2 September 2000. It was given a limited release on 22 November 2000, with a wider release following on 15 December 2000. The film earned $249,383 its opening weekend in nine theaters, totaling $7,065,332 domestically and $10,923,895 internationally, for a total of $17,989,227.[3]
Critical reception
The film holds a 75% "fresh" rating at the review aggregator site Rotten Tomatoes, based on 126 reviews, with an average rating of 6.6/10. The site's consensus states: "Though hard to watch, this film's disturbing exploration of freedom of expression is both seductive and thought-provoking."[18] It has an average score of 70/100 at Metacritic, based on 31 reviews, indicating "generally favorable reviews".[19]
Elvis Mitchell of The New York Times complimented the "euphoric stylishness" of Kaufman's direction and Geoffrey Rush's "gleeful... flamboyant" performance.[20]Peter Travers for Rolling Stone wrote about the "exceptional" actors, particularly Geoffrey Rush's "scandalously good" performance as the Marquis, populating a film that is "literate, erotic, and spoiling to be heard".[21]Stephanie Zacharek of Salon.com enthused over the "delectable and ultimately terrifying fantasy" of Quills, with Rush as "sun king", enriched by a "luminous" supporting cast.[22]
In a December 2000 review, film critic Roger Ebert, rated it 3.5 stars out of 4 and stated, "The message of 'Quills' is perhaps that we are all expressions of our natures, and to live most successfully we must understand that."[23]
The film was not without its detractors, including Richard Schickel of Time magazine, who decried director Philip Kaufman's approach as "brutally horrific, vulgarly unamusing", creating a film that succeeds only as "soft-gore porn".[24]Kenneth Turan of the Los Angeles Times dismissed the picture as an "overripe contrivance masquerading as high art",[25] while de Sade biographer Neil Schaeffer in The Guardian criticised it for historical inaccuracies and for simplifying de Sade's complex life.[26]
Neil Schaeffer, detailed a number of disparities between fact and film. Schaeffer, whose The Marquis de Sade: A Life[30] was used by Director Philip Kaufman as reference,[5] in a review published in The Guardian, criticised the film for historical inaccuracies and for simplifying de Sade's complex life.[26]
Schaeffer relates that de Sade's initial incarceration "had nothing to do with his writing" but with sexual scandals involving servants, prostitutes, and his sister-in-law. He also criticised the opening scene's implication that the reign of terror caused the "sanguinary streak" of de Sade's writing, when "his bloodiest and best work, 120 Days of Sodom, was written in the Bastille – obviously before the revolution" and not at Charenton, as suggested by the film. In contrast to the film, the historical de Sade was "not at the height of his literary career nor of his literary powers" while at Charenton, nor did he cut the "tall, trim figure of the Australian actor Geoffrey Rush" but was of middling height and, at the time, of a "considerable, even a grotesque, obesity".[26]
The manuscripts smuggled out of the asylum were not the novel Justine, which features prominently in the film but was published thirteen years before de Sade's incarceration at the asylum. De Sade's smuggled works were not particularly outrageous, mostly consisting of conventional novels and a number of plays he worked on throughout his life in hopes of having them performed. Most of these were soundly rejected by publishers. De Sade was, in fact, involved in the theater productions at Charenton, though none like the play featured in Quills. The plays performed were popular, conventional Parisian dramas.[31] The government shut the Charenton theater down on 6 May 1813, years before the real Dr. Royer-Collard had any influence at Charenton.[26][32]
Schaeffer criticised also the film's treatment of de Sade's personal relations regarding his wife (who had formally separated from him after the revolution), the chambermaid (who did not serve as a liaison to a publisher but with whom he had a sexual relationship from her early teens until shortly before his death), and his "companion of many years" who had a room at Charenton (and actually smuggled out the manuscripts) but is ignored by the film. Furthermore, "De Sade's hideous death in the movie is nothing like the truth, for he died in his sleep, in his 74th year, as peacefully as any good Christian".[26][32]
According to Kaufman, Doug Wright did not have the rights to the original translations and therefore had to create and write the passages of de Sade's work that are included in the original play and the film. He applied the vocabulary used in the translations to the passages to imitate de Sade's style but the archaic language comes across as funny to a modern viewer whereas in the 1700s, as stated by Kaufman, these words were "incendiary".[5]
^Childs, Martin (Production Designer) (2000). Quills: Creating Charenton (DVD). 20th Century Fox.
^ abWright, Doug (Screenwriter, Playwright), Kaufman, Philip (Director), Winslet, Kate (Actor), Phoenix, Joaquin (Actor) (200). Quills: Marquis on the Marquee (DVD). 20th Century Fox.
^Kaufman, Philip (Director), Winslet, Kate (Actor), Phoenix, Joaquin (Actor), Caine, Michael (Actor) (2000). Quills: Dressing the Part (DVD). 20th Century Fox.
