Quills 2000 Full Movie Download
Bubba Lual
Quills is a 2000 period film directed by Philip Kaufman and adapted from the Obie award-winning 1995 play by Doug Wright, who also wrote the original screenplay.[4] Inspired by the life and work of the Marquis de Sade, Quills re-imagines the last years of the Marquis's incarceration in the insane asylum at Charenton. It stars Geoffrey Rush as de Sade, Kate Winslet as laundress Madeleine "Maddie" LeClerc, Joaquin Phoenix as the Abb de Coulmier, and Michael Caine as Dr. Royer-Collard.
Well received by critics, Quills garnered acclaim for its performances from Rush, and Winslet and its screenplay. The film received nominations for three Academy Awards, four BAFTA Awards, two Golden Globe Awards, and two Screen Actors Guild Awards. The National Board of Review named it the Best Film of 2000. The Writers Guild of America awarded Doug Wright with the Paul Selvin Award.
Years later, the Marquis is confined to the asylum for the insane at Charenton, overseen by the Abb 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 Napolon I Bonaparte orders all copies of the book to be torched and the author shot. However, his advisor, Delben, tempers this idea with one of his own: send alienist Dr. Royer-Collard to assess Charenton and silence the Marquis. Meanwhile, the Abb teaches Madeleine to read and write. Madeleine reads the Marquis's stories to her fellow workers. Whilst being fascinated with the Marquis, she remains reluctant to give in to his advances.
Royer-Collard arrives, informing the Abb that the Marquis' "therapeutic writings" have been distributed for public consumption. He says the Abb must silence the Marquis or Charenton will be shut down by order of the Emperor. The Abb rejects Royer-Collard's offers of aggressive archaic "treatments" and asks to speak with the Marquis himself, who swears obedience (winking at Madeleine through a peephole). Royer-Collard then travels to the Panthemont Convent in Paris to retrieve his promised bride, the underage orphan Simone. They are given a run-down chateau by the Emperor, with young architect Prioux on hand for its renovation. On their wedding night, Royer-Collard rapes her, 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 audacious play, a parody of Royer-Collard's misogynist domination 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 Abb is seen publicly comforting Madeleine. Royer-Collard shuts down the public theater and demands that the Abb do more to control the Marquis, or he will inform the ministry that the inmates are running the asylum. Infuriated, the Abb 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 Abb stops him by offering himself instead. The Abb decides that Madeleine must be sent away. That night she visits his chamber to beg him to reconsider sending her away and confesses her love for him in the process, prompting him to kiss her. However, they break away at the realization of what they are doing. Madeleine runs off and Charlotte catches the Abb 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, the inmate at the end of the relay, 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 Abb. The Abb is devastated and Bouchon is imprisoned inside an iron maiden. Blaming the Marquis for Madeleine's death, the Abb confronts him; the Marquis claims he had been with Madeleine in every way imaginable, only to be told she died a virgin, provoking an emotional outpouring of grief. The Abb has the Marquis' tongue cut out as punishment for Madeleine's death, but is stricken with remorse and whips himself. The Abb then dreams of Madeleine returning to life and having sex with him, but ultimately the dream ends with him holding her corpse. The Marquis' health declines severely, but he remains perverse, decorating his dungeon with a story, using his feces as ink. As the Marquis lies dying, the Abb 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 Abb arrives at Charenton and is given the grand tour by Royer-Collard. During the tour, 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 Abb meets his predecessor, who resides in the Marquis' old cell. Yearning to write, he begs paper and a quill from the new Abb, and tries to strangle Royer-Collard when he ventures too close the peephole. The Abb 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 Abb begins to scribble furiously, with the Marquis providing the narration.
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 Abb, 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 Lopold Boilly's "Woman Ironing" to give her a feel for the character, which Winslet said greatly influenced her performance.[13]
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]
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:
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]
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