DIRTY HANDS by Jean Paul Sartre

ENGLISH PROJECT

SUPERVISED BY: Submitted By:

Prof. TANYA MANDER PIYUSH KAMAL

18***

Group 16
TABLE OF CONTENTS

1.Introduction

2. Jean-Paul Sartre

3.Stuart Mill

4. Mill’s Rule Utilitarianism versus

Bentham’s Act Utilitarianism

5. Impacts of Utilitarianism in different fields

6.Conclusion
1. INTRODUCTION

“How you cling to your purity, young man! How afraid you are to soil your hands! All
right, stay pure! What good will it do? Why did you join us? Purity is an idea for a yogi
or a monk. You intellectuals and bourgeois anarchists use it as a pretext for doing
nothing. To do nothing, to remain motionless, arms at your sides, wearing kid gloves.
Well, I have dirty hands. Right up to the elbows. I’ve plunged them in filth and blood.
But what do you hope? Do you think you can govern innocently? (Act V)”

This piece called Dirty Hands by Jean-Paul Sartre was composed toward the second's
end World War. Prior to going into the examination of this play, recollect that Sartre is
the most prominent agent of existentialism, a logic which raises the authority of human
opportunity (man is sentenced to be free). The Literary works of Sartre, Nausea through
No Exit expected to outline reasonable accomplishments and speculations of
existentialist rationality.

Dirty Hands is a seven-act play which spins around Hugo, a man accuse of undertaking
of assassinating the leader of the communist party who wants to adopt controversial
policies. But Hugo soon realises that assassination is no mean feat and struggles to see
his mission through.

In the original play form, Jean-Paul Sartre's Dirty Hands was hailed throughout the free
world as a powerful indictment of the Communist Party's credo--"The end justifies the
means." But the play, and certainly the movie, gain their force from a dual message--
the search of the individual for faith in himself as well as for faith in the Party.

In his search for self-respect and truth, the young hero, Hugo, leaves his father's house
and joins the Communists of his Nazi-occupied country. "Here I met men who didn't
lie...I could breath." But even within the party there is a liar--Hoederer, their leader,
intends to join conservative groups in an anti-Nazi coalition. To save Party purity and
to take the step which would prove himself, Daniel accepts an assignment from
Hoederer's opponents within the Party to assasinate the leader.

But Hugo becomes confused when he finds Hoederer a fascinating and thoroughly
likeable figure--even if he is more concerned with gaining power than with how the
party does so. "Tactics are important," Hoederer explains, "but our end is the same."
Hugo wavers in confusion when the leader explains that what the young man really
wants is not Communism, but an ideal--love for principles and not men.

Hugo does, however, make a decision. In the meantime the Party decides that Hoederer
was not a traitor, but a hero--leaving Hugo as a man alone. The irony of the end reflects
upon the Party and Daniel--the corrupt and the native, and not upon Hoederer. His brand
of opportunism was never effectively contradicted. Sartre condemns the Party, but not
the Communist.

The plot is carried well by the actors. Daniel Gelin gives a believable portrayal of the
confused intellectual, while Pierre Bresseur, as Hoederer, is powerful and sensitive at
the same time. Both Claude Nollier, as the faithful party workers, and Monique Artur,
as Gelin's less faithful wife, are excellent.

While the acting is above reproach, the photography and background music add little
when they are not distracting. The technical qualities of the film are not helped by
splices and cuts. The flashback technique is effective, although the point of view is not
maintained faithfully throughout. The film is most effective in the intimate scenes when
the internal conflict of Hugo can be felt most dramatically. As such moments comprise
the better part of the film, Dirty Hands is powerful not only as an insight into
Communism, but also as a drama of an individual searching for himself.

The forcefulness of Dirty Hands is matched by the delicacy of the accompanying short-
-Pantomimes, by Marcel Marceau. Including his now famous "David and Goliath" and
the "Butterfly," the film shows how much can be said through silence.
2. Jean-Paul Sartre

Jean-Paul Sartre, (conceived June 21, 1905, Paris, France—kicked the bucket April
15, 1980, Paris), French writer, dramatist, and example of Existentialism—a logic
acclaiming the opportunity of the individual person. He was granted the Nobel Prize
for Literature in 1964, however he declined it.

Early Life And Writings

Sartre lost his dad at an early age and experienced childhood in the home of his
maternal granddad, Carl Schweitzer, uncle of the medicinal preacher Albert
Schweitzer and himself educator of German at the Sorbonne. The kid, who
meandered in the Luxembourg Gardens of Paris looking for companions, was little
in stature and cross-peered toward. His splendid personal history, Les Mots (1963;
Words), portrays the undertakings of the mother and youngster in the recreation
center as they went from gathering to gathering—in the vain any expectation of being
acknowledged—at that point at last withdrew to the 6th floor of their loft "on the
statures where (the) fantasies abide."
 3. PLOT
“"It is 1944 in the anecdotal East European nation of Illyria and the Russian Army is
coming nearer. Olga is in a level utilized by the Illyrian socialist gathering. Hugo
arrives. He has quite recently been discharged from jail. He is youthful, attractive,
chatty. He has quite recently served two years for the homicide of the socialist chief,
Hoederer. A thump at the entryway and he stows away. Olga opens the way to agents
of the Party, intense folks with firearms. They've come to slaughter Hugo, they've
trailed him here, he's an obligation, an unstable presence, he should be exchanged.
Olga argues for his life and says, 'Give me till midnight to discover what truly
occurred.' The extreme folks hesitantly yield and leave”".

“Hugo turns out the room where he'd been stowing away. Olga clarifies he should
advise her beginning and end; possibly she can secure him, induce the others he is
reliable all things considered. 'Let me know everything, directly from the begin.' The
stage obscures and now starts most of the play, which is told as a long flashback
specifying the occasions paving the way to the death of Hoederer."”

(Setting up the danger of Hugo's 'liquidation' in the present is a Hitchcock-like trap,

such as observing the bomb being set on the transport: everything that happens hence
is accused of hazard and tension. Basic however powerful.)

“So whatever is left of the play appears in detail the development to the death and
investigates the exceptionally blended intentions of youthful Hugo the professional
killer."”1

1
Sartre, J. (2019). Dirty Hands by Jean-Paul Sartre (1948). [online] Books & Boots. Available
at: https://astrofella.wordpress.com/2017/10/24/dirty-hands-jean-paul-sartre/ [Accessed 14
Mar. 2019].
44. ACT WISE ANALYSIS

“ Act II

“It is 1942, Hugo has broken with his rich middle class family to join the People's Party.
As a puerile youthful scholarly, he has been given the errand of altering the gathering
paper and is unpleasantly scared by the 'genuine men' of activity who encompass him.”“

“After a violent gathering of the gathering heads Louis discloses to him and Olga that
the gathering's general secretary, Hoederer, is wanting to sell the gathering out. He is
inducing the focal advisory group to go into a partnership with the Fascists and the
common party after the war to make a legislature of national solidarity.” “”

“Olga and Hugo can't trust he is a rat. Louis wavers at that point gives them access on
an arrangement to kill Hoederer. Hugo will find a new line of work as Hoederer's own
secretary. On a night to be orchestrated he will open the way to the professional killers.
Hugo harnesses: he needs to take care of business of activity. Give him a chance to kill
Hoederer. Louis delays however Olga talks up for Hugo: let him. Alright, says Louis.
Gather your sacks and take your new youthful spouse, Jessica, with you (gracious, he's
hitched, we understand). Move into Hoederer's home. Turn into his secretary.
Anticipate orders.”” “

“The following couple of acts acquaint us with the clever careful Hoederer,
encompassed by intense person protectors (George, Slick and Leon). Be that as it may,
by a long shot the most fascinating character is Jessica, Hugo's appealing eccentric
nineteen-year-old spouse. She and Hugo play child diversions, play act, pretend nor are
certain when the amusement is finished or when they're playing. This could have been
a tedious exemplification of Sartre's thoughts regarding individuals assuming jobs for
others' utilization, yet in reality their young wedded being a tease and flyting is finished
with a shockingly light touch and I found truly reasonable. It is Huis Clos however in a
comic mode. At the point when Hugo swears Jessica to mystery at that point murmurs
that he's here to kill Hoederer, Jessica blasts out snickering. Hugo's situation is that
nobody will pay attention to him. He can't pay attention to himself.” “

“The scene is set in Hoederer's office, the delegates of the two different gatherings
arrive, the Fascists and the Liberals. There is some intriguing political examination as
Hoederer indicates out the other two that, with the USSR seemingly within easy reach,
the Proletariat Party, however numerically in a minority, will before long be upheld by
the vanquishing Reds: so they would be wise to complete an arrangement now. So, all
in all Hugo bounces to his feet, offended that Hoederer is set up to complete an
arrangement with the middle class he so disdains, with the average party pioneer
(Karsky) who really knows Hugo's very own dad and tried referencing it to Hugo in
transit in.”2

The bomb

Hugo is nearly hauling out his gun and shooting Hoederer without even a moment's
pause, when a bomb goes off in the greenhouse, breaking the window, tossing the
characters to the floor. The political pioneers are introduced a sheltered room, leaving
Hugo, the guardians and a panicked Jessica. There is currently some emotional
incongruity since Hugo had proclaimed 'the messy rats' similarly as the bomb went off.
He was depicting the pessimistic government officials influencing this line to up, as he
stirred himself up to shooting, however at this point needs to claim to Hoederer's
suspicious guardians that he was alluding to the 'messy rats' who tossed the bomb. Truth
be told Hoederer had as of now (impulsively) given Hugo a couple of beverages before
the government officials arrived, and now he has a couple of additional to recoup from
the stun with the outcome that he gets pounded and begins unsteadily evading round
the way that it is he who has been sent as a professional killer.

2
Sartre, J. (2019). Dirty Hands by Jean-Paul Sartre (1948). [online] Books & Boots. Available
at: https://astrofella.wordpress.com/2017/10/24/dirty-hands-jean-paul-sartre/ [Accessed 14
Mar. 2019].
They're not especially unpretentious, yet these scenes where the puerile Hugo wavers
on the precarious edge of giving himself away, despondently uncovering himself to be
correctly the over-chatty scholarly he's endeavoring to quit being, while his intelligent
spouse covers for him, are more significantly unpredictable and fulfilling than anything
in Sartre's past plays, whose characters have would in general be schematic and one-
dimensional.

Specifically, Jessica's blameless intelligence is a delight to observe. In a prior scene,

when Hoederer's goons had demanded looking through the fresh introductions' room,
Jessica had speedy wittedly shrouded Hugo's gun in her dress and boldly welcomed one
of the guardians to look through her who was, subsequently, so humiliated that he just
completed a quick occupation, not finding the weapon.

Presently Jessica rapidly translates Hugo's intoxicated babblings as resentment against

the 'messy rats' who tossed the bomb and devises different methods for concealing what
Hugo's maxim. Indeed she urges him to drink more, parcels more, until he goes out and
Slick and George simply giggle at him, saying thanks to their fortunate stars they didn't
have a rich advantaged childhood.

Olga in the summerhouse

“Slice to the summerhouse which is Jessica and Hugo's quarters, and Olga is tending
the oblivious Hugo, when Jessica comes back to the live with a virus pack for his head.
The two ladies stand up to one another over Hugo's oblivious body – the conspiring,
hard, political lady versus the politically innocent however exotic and sharp lady. They
wake a tired Hugo and Olga reveals to him it was she who tossed the bomb. The
gathering's getting restless. It's been ten days Hoederer's as yet alive. She came to
complete the activity off however messed up it. Hugo has till tomorrow, at that point
they'll come as a group. Anyway, whatever occurs, the gathering thoroughly considers
Hugo's sold – he is stuck in an unfortunate situation. Being exploded by the bomb would
have helped him out. Olga leaves, moving over the divider and getting away.”
“Jessica goes up against Hugo with the truth of what he's guaranteed. Out of the blue
they're not playing. Hugo concedes he can barely handle it, can't trust he's an
executioner, can hardly imagine how Hoederer's brilliant speedy eyes will go dull, that
blood will saturate his suit, all since he, Hugo, has pulled a trigger. He is over-
considering and over-envisioning the deed. In any case, Jessica is no Lady MacBeth;
the inverse, she asks Hugo to reexamine and, rather than simply killing Hoederer,
examine the issues, contending him out of whatever it is that Hugo so intensely
restricts.”

“At which minute there's a thump on the entryway and Hoederer himself enters, to
determine the status of his secretary. The goons disclosed to him he's smashed himself
oblivious: would he say he is okay? Having verified, Hoederer makes as though to leave
however Jessica bounces up before him. Presently, right now is an ideal opportunity for
Hugo to do it? For a minute we the group of onlookers and Hugo are floored: what?
shoot Hoederer now? No, Jessica implies right now is an ideal opportunity for the two
men to talk, to explode their disparities, for Hugo to see whether it's extremely
important to execute Hoederer (Jessica clearly doesn't state this so anyone can hear, yet
we know from the past discourse with Hugo that is this is the thing that she implies).”

Hoederer discloses Realpolitik to Hugo

“Also, this is the lead-in to an entirely pleasant scene where Hoederer a) clarifies the
political circumstance in Illyria b) clarifies why a political arrangement with alternate
gatherings is vital c) insults Hugo with his innocent scholarly virtue. He's more inspired
by standards than men, Hoederer insults. He wouldn't like to get his truly minimal
common hands filthy. All things considered, Hoederer's hands are filthy okay, shrouded
in blood and rottenness.”

“This works great as dramatization; it is composed actually viably with Hoederer's

contentions battering Hugo's weak dissents. At the point when Hoederer has left, even
Jessica can see that his contentions were correct and, more regrettable, that Hugo knows
it, regardless of every one of his dissents, in spite of his expectation to remain consistent
with his unique mission, Hoederer changed over him.”

“However, I was likewise interested by Hoederer's examination of the circumstance in

this anecdotal East European nation since it intently parallels the investigations of the
post-war socialist takeover of Europe I have recently perused in Anne Applebaum's
splendid history, Iron Curtain: The Crushing of Eastern Europe 1944-56. Hoederer
contends that:”

“The Proletariat Party can't take control without anyone else; the working class just
make up 20% of the populace and not by any means every one of them bolster the
gathering. Hugo innocently says, 'We should catch control'. Hoederer answers that in
the event that they caught control, they would rapidly be stifled by the Peasants Party
which speaks to 55% of the populace, in coalition with the Fascists who control the
military and police.”

Subsequently the need to enter control serenely in a national alliance.

“Hoederer has recommended to the pioneers of the Fascists and Bourgeois gatherings
that they set up a national government with six on the fulling committee and the
Proletariat Party will have three of those representatives. He even – and this tolls
precisely with Applebaum's portrayal – wouldn't need the vast majority of the services,
only two: the inside and protection, on the grounds that those are the main two that
issue.”

“However, Hugo says, the Red Army will be over our fringes in weeks: for what reason
don't we ride their jacket tails to control? Since, my credulous companion, answers
Hoederer, they will at present need to battle their way the nation over and many will be
slaughtered; the Soviets will be accused. Since they Party will always after be thought
to have been forced by a remote power instead of ascending to speak to the general
population. Since, notwithstanding for the national solidarity government, the nation
will be a no man's land when harmony at long last comes, troublesome choices about
peace should be taken; the Party can speak to itself as a characteristic outgrowth of the
country and individuals, and can introduce itself as restricting these disliked strategies
from inside government. With control of key enterprises it can gradually seclude the
pioneers of alternate gatherings and hold up till all is good and well to arrange an
overthrow.”

“Hugo loathes this since it is muddled and unscrupulous and yuk. Hoederer snickers at
his naivety and middle class snobbery.”

“Act VI”

“”Following day, the day of the due date Olga revealed to Hugo he should act or disaster
will be imminent. Before the working day starts Jessica comes into Hoederer's office
and after a bit of being a tease uncovers that Hugo has a weapon, and has been entrusted
with killing him. Hoederer knew it from the beginning. Hugo thumps at the entryway,
Jessica exits through the window (helping me to remember every one of the intricate
details through windows in The Respectful Prostitute).”3

“Presently Hoederer toys with Hugo, proceeding with the discourse about whether
Hugo has it in him to be a professional killer or whether he is a lot of an erudite person.
Since professional killers don't think by any stretch of the imagination, have no creative
energy, simply execute. Though Hugo has a lot of creative ability, can not just picture
the dead body and the blood, yet has gotten a handle on the political outcomes, the
reason for the Party set back, no single head to welcome the Red Army, its possibility
for power perhaps irreversibly lost. He intentionally turns his back and fixes some
espresso, while Hugo gets the weapon out his pocket and holds it trembling, in all
respects clearly battling with himself. Hoederer turns, faces him, says 'Give me the
firearm' and takes it. Hugo breakdown, basically in tears, and says, 'You loathe me.'”

3
Sartre, J. (2019). Dirty Hands by Jean-Paul Sartre (1948). [online] Books & Boots. Available
at: https://astrofella.wordpress.com/2017/10/24/dirty-hands-jean-paul-sartre/ [Accessed 14
Mar. 2019].
“Hoederer says he was a gullible principled young fellow. He can push Hugo to
development, control him, tutor him. Hugo is nearly in tears. Yet, he won't surrender
his restriction to the political agreement. Try not to stress, says Hoederer: he'll get down
to business tomorrow and square everything with Louis (the person who sent Hugo in
any case). Return to composing, it's your main thing best; and he expels Hugo”.

“Reappear Jessica who's been roosted on the window sill this time (!) She heard
everything. She supposes Hoederer is respectable. Truth be told, she's understood she's
not in affection with her senseless juvenile spouse, she understands she needs a 'genuine
man' (p.232). Gracious dear. The 21st century peruser's heart sinks a bit. They take a
gander at one another peacefully. She's never excited to a man's touch, sex with her
significant other makes her snicker. 'Are you bone chilling?' Hoederer inquires. 'I don't
have the foggiest idea,' Jessica answers. 'How about we discover,' says Hoederer and
grasps and kisses her.”

“At simply this minute Hugo reenters the workplace. Uh oh. Angered, he blames
Hoederer for deceiving him and leading him on and saving him and promising to make
him a man since up and down he's simply needed his better half. Hugo springs for the
work area where the gun was left, catches it, Jessica shouts, Hugo shoot three shots at
Hoederer who folds in his seat. Enter the protectors, George and Slick with weapons
went for Hugo yet Hoederer with his withering breath instructs them to save him, it was
a wrongdoing of enthusiasm, that he – Hoederer – was laying down with Hugo's better
half. What's more, bites the dust.”

Act VII

“Lights go up on the setting of the main demonstration, as Hugo wraps up his heart out
to Olga. She continues asking, 'So did you kill him on account of our requests,' and
Hugo genuinely doesn't have the foggiest idea. In a commonly Sartrean way, Hugo isn't
even certain that he did it: or was Chance the key operator? In the event that he'd opened
the entryway two minutes after the fact or prior, it wouldn't have occurred. Truth be
told, he was returning to request Hoederer's assistance.”

It was a death without a professional killer. (p.234)

“Hugo is pounded by a naturally Sartrean feeling of his own falsity. Be that as it may,
Olga is satisfied. She wants to fight off the men who need to execute him. What's more,
here comes the punchline, the skeptical peak of the play. For Olga clarifies:”

“The partisan division has changed. When they despatched Hugo to kill Hoederer
correspondences with Moscow were poor. Later they found that Moscow did, truth be
told, need the gathering to go into a legislature of national solidarity with the Fascists
and middle class parties. It would mean sparing numerous lives among the Illyrian
armed force (which would quickly set out its arms). It would spare Moscow shame with
the Allies (Britain and the US). The new arrangement is for the gathering to join a 6-
man government, and the gathering to have 3 delegates. Hugo is astounded and after
that blasts out giggling. This is actually what Hoederer planned, what we saw him
proposing to Hugo only a couple of minute (two years) back down to the last detail.”

“Indeed, Olga clarifies, however Hoederer was 'untimely' in his approach. In the
interim, another man, presently dead, has been authoritatively accused for Hoederer's
death. Presently Hoederer has been restored and… Hugo participate, 'You're going to
set up statues to him after the war. You're going to make him a saint of the gathering?'
Hugo crumples into vulnerable tear-filled chuckling of sadness.”

“Olga instructs him to wake up, the Party executioners are going to arrive. She is
prepared to disclose to them he is another man, restored, he will oblige the partisan
principal, he will lie about Hoederer's death, he will overlook and never notice to
anybody that he did it. He will carry on with an actual existence of trickery and lies for
more prominent's benefit.”

“Be that as it may, Hugo cannot. The main thing that propped him up in jail was that he
terminated – perhaps for individual reasons – however as per the partisan principal. To
discover that the line has changed and the demonstration turned out to be totally futile
is a lot to endure. He imagined that murdering somebody would make him feel genuine,
give him weight and substance – yet he continued inclination awfully stunning and
unforeseen. Presently, presently he gets the opportunity to stand up, to represent
himself, to make himself genuine. Olga beseeches him to stop however as the
executioner's vehicle draws up outside, Hugo stands up and strolls to the entryway. He
will broadcast his blame and power them to execute him. It will be his last,
characterizing acte.”

CONCLUSION

“”Obviously the huge and amazing Communist Party of France despised the play. You
can perceive any reason why”.”

“In absolutely political terms, this was the decade when Moscow's idea of Socialist
Realism came to be implemented the whole way across the Eastern Bloc.
Craftsmanship, music, writing, all must be honorable and moving, indicating glad
laborers surpassing their shares and happily acquiring the reap. It's difficult to envision
an increasingly skeptical, naysayer, critical and plain enemy of socialist account than
Les Mains Sales, difficult to envision much else totally in spite of the soul of Socialist
Realism, concentrating as it does on the irreverent political moving, the misleading its
participation, the negative partnerships with its class foes, and the trivial infighting and
murders of the socialist party.”

“Legislative issues aside, the socialist party of Illyria comes over as a crowd of
criminals, minimal diverse as far as danger and viciousness from Al Capone and
Chicago hoodlums of Prohibition. Over and over I am reminded that Sartre and Camus
were composing their exceptional, man-holding-firearm fictions amid not just the fairly
clear viciousness of the Second World War, yet in addition amid the prime of
Hollywood movies noirs which they both colossally delighted in. Camus developed a
Humphrey Bogart look with his neckline turned up and a Gitanes cigarette permanent.”