Eugénie

There must have been some creative photography work or it took four years to edit and perhaps add more footage but Soledad died in a car crash Aug 18 1970. How Franco directed her beyond the grave must be one of the arcane skills of this director. Maybe bringing back Monroe, Orson Wells, and some others to act would be a worthwhile event.. but seriously, someone should find out how or why this took so long to make.. Perhaps her accident wasn't. Just part of the trivia this director has created.. I mean really just how many Eugenie did me make - four?? I like Lindberg's the most... and yet I still have to write... to make another line

Third Jess Franco film I saw after Bloody Moon and Vampyros Lesbos. After seeing Soledad Miranda in Vampyros Lesbos, I was keen to see more of her films, and I wasn't disappointed, she really carried the film with her great screen presence. Very interesting story and great direction from Franco and interesting surreal visuals especially with the first murder, loved Soledad's red gear. A lot of nudity and sex but Soledad looks great. So all of you who love Soledad Miranda or Jess Franco this film is a must. I saw a lot of links to films such as Peeping Tomand the work of Hitchcock however this took it a lot further, which was great to see.

Jess Franco has made so many movies and has been part of the Euro trash consciousness for so long that the "idea" of Franco and his unique work is sometimes more powerful than the films themselves.

The exquisite Soledad Miranda is the main reason for spending ninety minutes with EUGENIE. She has a natural, magnetic, erotic presence that is both remote and engaging. She personifies the genre like no other.

Eugenie and her stepfather Albert (Paul Muller) indulge in semi-incestuous activities and murder a couple of attractive women for pleasure. A writer, played by Franco himself, usually turns up at the scene of the crime to communicate his approval or sound a warning that their crimes are not going unnoticed.

Ms. Miranda spends lots of quality time sitting around in ultra-skimpy skirts and in no skirts at all. Franco never misses an opportunity to glance between her enticing thighs or ogle her pretty bottom. His is the gaze of a true obsessive, and his muse (whom he was romantically involved with for some time) provides us with creamy erotic fantasy.

The film has a languorous, dreamy shooting style and the simple, sometimes haunting score (by Bruno Nicolai) smooths over the transitions. Sometimes the shots are out of focus or bumpy, but it doesn't really matter. Clearly, Franco was happy to apply an experimental style to films like this (and VAMPYROS LESBOS, for example) and he achieves a loose, dreamy effect.

I must admit, though, that I could have done without Paul Muller's hairy back during his major sex scene with Soledad (but that's just me).

This week-end I have watched another Jess Franco movie, my fifth so far: EUGENIE DE SADE (1970), or as the on-screen title would have it, simply, EUGENIE (by way of the recently released R2 DVD from Oracle Entertainment).

Unfortunately, I was rather disappointed by the film itself, especially in view of its reputation as possibly Franco's best. I liked certain aspects of it, surely, but on the whole I felt that it was somewhat overrated. For starters, there are numerous plot-holes which are just too blatant to be left without comment:

1. If Albert and Eugenie decided to start filming their murders just prior to meeting Paul (which eventually was to bring about their downfall), where did the footage which Franco's Tanner is watching at the beginning of the film come from?!

2. If Albert's intention was always to 'pervert' Eugenie (because as he tells her he had killed her mother for just this purpose), it is hardly plausible that he would have waited this long before attempting anything!

3. If Tanner knows just what Albert and Eugenie are up to, why does he need to pester Eugenie on her death-bed in order to discover what makes them 'tick'?

4. In her narration, Eugenie refers to Tanner by name (as if he weren't there) rather than address him directly; also, since Albert never had a chance to tell her he killed Paul, let alone how he did it, how come she knows about it?

I noticed other stuff that didn't quite come off:

· The entire hitch-hiker scene went on 'bloody forever' (as Brian Lindsey had described another scene from the film on the 'Eccentric Cinema' website)

· Soledad's strip-tease is more (unintentionally) comical than erotic (though she does otherwise strike a perfect balance between innocence and deadly allure)

· The Albert/Eugenie relationship, complete with gratuitous sex scenes, is unconvincing to say the least (Paul Muller is quite good, but miscast, here)!

· During Albert's attack on Eugenie, the scene displays a very discreet use of gore for what he is supposed to be doing to her (cut her open with a pair of scissors)!

Another aspect I was let down by was the extreme realism of the settings: of course, this may very well be what the subject called for but, to me, when compared to the sunny/tropical settings of EUGENIE…THE STORY OF HER JOURNEY INTO PERVERSION (1969) and A VIRGIN AMONG THE LIVING DEAD (1971) – to say nothing of the atmospheric 'noirish' ambiance of THE DIABOLICAL DOCTOR Z (1965) – both the autumnal Parisian backdrop of the first half and the scenes which takes place in a 'mod' (i.e. dated) Berlin seemed too mundane and failed to draw me into the proceedings as much as I would have liked! As for Bruno Nicolai's score (which some consider to be his finest work!), I did not find it to be especially memorable and, indeed, repeated the same motifs over and over.

Still, I have to say something about the quality of the DVD itself, because this had a definite bearing on my rather negative reaction to the film. First of all, the English subtitles flashed by very rapidly (causing me to miss some of the dialogue) but, worse than this, too often these did not even match what was being said in French (I can understand the language but I still prefer to watch it accompanied with subtitles)! Besides, in a couple of spots, subtitles appeared on the screen when none of the characters was actually speaking! By the way, does anyone know whether French was this film's original language (could it possibly have been German?); much as the English dubbing was horrid, I did not feel that the dialogue sounded very natural in French either. As was the case with A VIRGIN AMONG THE LIVING DEAD, the theatrical trailer included on the disc featured a number of alternate takes – not to mention that ultra-catchy riff from EUGENIE…THE STORY OF HER JOURNEY INTO PERVERSION!

I have resisted doing a proper review for this film, as I would like to watch it again before committing myself to pass judgment on it. Suffice to say that, for now, I consider EUGENIE…THE STORY OF HER JOURNEY INTO PERVERSION a much better film (perhaps the best Franco I've seen so far), and even A VIRGIN AMONG THE LIVING DEAD (by any stretch a less 'coherent' film than EUGENIE DE SADE) was more readily enjoyable. To tell you the truth, my disappointment over EUGENIE DE SADE has practically brought my Franco experience to an indefinite halt. I almost cancelled the orders I made for both EXORCISM (1974) and JACK THE RIPPER (1976) and have postponed my purchase of the R2 DVD editions of VAMPYROS LESBOS (1970) and SHE KILLED IN ECSTASY (1970). Actually, in a few days I should be getting VHS dubs of 4 (!) new Francos - SUCCUBUS (1967), VENUS IN FURS (1968), LES POSSEDEES DU DIABLE (1974; aka: LORNA THE EXORCIST) and THE SADIST OF NOTRE DAME (1979)! Hopefully, when I watch these films my initial 'admiration' for the work of Jess Franco will be re-awakened

Eugénie (charming and early deceased Soledad Miranda) , a gorgeous but shy young girl , has been living with her stepfather , the erotica author Albert (Paul Muller) since her mother died when she was a little girl . One day , she happens to read one of his erotic and masochistic tales , and its power so affects her that begins finding herself sexually attracted to him . Step by step, Eugenie develops a fixation with his games growing more complex and perilous . As they take a path of murders and decide a criminal spree by luring each victim turning into compromising situations and then killing them one by one . As this process continues, they follow committing their sadistic deeds , then Albert and Eugénie develop a sexual relationship with fateful consequences . Meanwhile , things go wrong when a writer/intellectual, the acclaimed Attila Tanner (Jesus Franco himsef) who is an admirer of his , discovers the grisly criminal events . Later on , Albert plans a new mark, a jazz musician named Paul (Andrés Monales) desiring for Eugénie to seduce him .

An erotic and eerie horror tale about a middle-age man and his young, seducing stepdaughter who murder innocent victims to appease her insatiable thirst for new experiences and to delight in the pleasures of the violence . This film goes on the usual style of the director Jesus Franco , concerning a twisted story between a stepfather and a stepdaughter who become involved into a dark world of sexual perversion , including kinky sex , deep passion , nudity , lesbianism and murders . This is a passable yarn by the prolific writer/producer/director Jesús Franco , considered to be one of the best films in his second period . Stars the mature Paul Muller , as Eugénie's stepfather , playing a famous writer specializing in stories of erotica , alongside Jess Frank himself as a peculiar writer who goes after them , and brief appearance of Alice Arno , Jesus Franco' regular , as a photo model victim , and cameo by producer Marius Lesoeur as a man who whispers to Tanner in opening scene . And, of course , the unforgettable and attractive Soledad Miranda or Susan Korda -though she was was dubbed- as the woman who falls for his stepfather . This fragile beauty appeared in numerous comedies , dramas, B-movies, and horror films, mostly in Spain , playing over thirty films from 1960 to 1970 . In 1970 , unfortunately , the wonderful Soledad suffered a car accident on a highway in Portugal and she sadly died . Ironically, before this tragic accident , the powerful German film producer Artur Brauner from Constantine Films had offered her a contract which would have made her a great star . Soledad was destined to become a legend .Her biggest break came from legendary director Jess Franco, who cast Soledad in such cult classics as ¨Count Dracula¨, ¨Eugenie De Sade¨ , ¨Sex Charade¨, ¨The Devil Came from Akasava¨ and ¨Vampyros Lesbos¨. She was director Jesús Franco's favorite leading lady and he was planning on starring her in his next film , ¨The bare-breasted countess¨ (1973) . After Soledad died due to a tragic car crash , Jess discovered and cast Lina Romay , who went on to appear in 100 of his films and married him in 2008 . Soledad is generally regarded as Franco's greatest discovery and not until the years after her death has she become a cult starlet with fans all over the world now discovering the beautiful , doomed actress , being this Eugénie (1973) final acting role of Soledad Miranda who died in a car accident in 1970 . Here Soledad Miranda is well accompanied by a good cast with plenty of familar faces in the Franco cinema . Eugénie (1973) is a pure psychedelic movie , being well produced by Marius Lesoeur , Eurocine's owner , but in short budget , resulting to be one of a batch of films Jesús Franco made for this French producer , in fact most Eurocine productions were filmed without sound and dubbed after , in various languages , according to the diverse markets in order to export all around the world . This vintage terror/erotic/mystery motion picture , a classic in some circles , was uneven but professionally directed by Jesús Franco who never considered the film to be a horror story , but instead felt it was tale of "anguish" . The picture was really cut , and it has several versions both , soft and hard . Initial releases of the film were met with negative reactions from film critics , while the general critical reaction had been poor , however ,today is considered to be an acceptable fim. Special mention for musical score composed by orchestra and synthesizer , full of strange sounds , jazzy and psychedelic soundtrack from Bruno Nicolai who was Ennio Morricone's usual collaborator . Furthermore, packing a colorful and brilliant cinematography by Manuel Merino . Shot on German/French locations , in gorgeous exteriors from Berlin, Germany and Paris, France .

The film has a lot of titles , as Eugénie de Franval (Liechtenstein) Eugénie de Sade (France) Sade's Eugenia (France) , De Sade 2000 (France) and while the original American release title was spelled Eugenia (World-wide, English title) . The motion picture was strange and regularly directed by Jess Frank ,by using ordinar trademarks , continous zooms , surprising close-ups , including blood drops and other kites . Jesus Franco was a Stajanovist filmmaker who realized around 200 movies . As the picture belongs to Franco's second period in which he made so-so flicks . Jesus uses to sign under pseudonym , among the aliases he used, apart from the names Jess Franco or Franco Manera, were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune , Toni Falt, James P. Johnson, Charlie Christian, David Tough , among others . Franco is really influenced by American thrillers , B-Horror movies and German expressionism . Franco used to utilize usual marks such as extreme zooms , nudism , lousy pace , foreground on objects , and pulling off complex , confuse narratives with no much sense , as well as filmmaking in ¨do-it-yourself effort¨ style or DIY . As Jess Frank manages to work extraordinarily quick , realizing some fun diversions, and a lot of absolute crap as well .