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Eugénie

  • 1973
  • X
  • 1 घं 26 मि
IMDb रेटिंग
5.6/10
1.2 हज़ार
आपकी रेटिंग
Eugénie (1973)
DramaHorrorThriller

अपनी भाषा में प्लॉट जोड़ेंAfter a bashful young woman discovers that her famed wordsmith stepfather is a psychopathic deviant, she becomes an accomplice in his murderous sex games.After a bashful young woman discovers that her famed wordsmith stepfather is a psychopathic deviant, she becomes an accomplice in his murderous sex games.After a bashful young woman discovers that her famed wordsmith stepfather is a psychopathic deviant, she becomes an accomplice in his murderous sex games.

  • निर्देशक
    • Jesús Franco
  • लेखक
    • Marquis de Sade
    • Jesús Franco
  • स्टार
    • Soledad Miranda
    • Paul Muller
    • Andrea Montchal
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    5.6/10
    1.2 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Jesús Franco
    • लेखक
      • Marquis de Sade
      • Jesús Franco
    • स्टार
      • Soledad Miranda
      • Paul Muller
      • Andrea Montchal
    • 16यूज़र समीक्षाएं
    • 32आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • फ़ोटो6

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें

    टॉप कलाकार9

    बदलाव करें
    Soledad Miranda
    Soledad Miranda
    • Eugénie Radeck de Franval
    • (as Susan Korday)
    Paul Muller
    Paul Muller
    • Albert Radeck de Franval
    Andrea Montchal
    • Paul
    • (as André Montchall)
    Greta Schmidt
    • Kitty
    • (as Greta Schmid)
    Alice Arno
    Alice Arno
    • Photo Model
    • (बिना क्रेडिट के)
    Jesús Franco
    Jesús Franco
    • Attila Tanner
    • (बिना क्रेडिट के)
    Marius Lesoeur
    • Man Whispering to Tanner
    • (बिना क्रेडिट के)
    Karl Heinz Mannchen
    • Nightclub MC
    • (बिना क्रेडिट के)
    Manuel Merino
    • Nightclub Patron
    • (बिना क्रेडिट के)
    • निर्देशक
      • Jesús Franco
    • लेखक
      • Marquis de Sade
      • Jesús Franco
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं16

    5.61.2K
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    फ़ीचर्ड समीक्षाएं

    10monkeyboogie182

    Great film

    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.
    chaos-rampant

    Beauty, Soledad's will in images

    If Franco did a single great thing in his tortuous career, that was discovering Soledad Miranda.

    Forget what the plot is supposedly about. If you don't have the DVD, there's an accompanying interview with Franco on making the film. His discussion of De Sade and how that informs his work is as boring as De Sade's own writings, but look how he lights up when he starts talking about Soledad. As an old man, you can tell he is still touched by having known her. It is the same mystique that enthralled Von Sternberg to Dietrich.

    Born, according to Franco at least, to gypsy parents, she was a successful flamenco dancer and singer before making the transition to film. I've only seen her in this and Vampyros, she's great in both but in the extraordinary way of dancers. It isn't about acting, she wasn't much good in the sense Streep is good. It's having a presence, enchanting, teasing by simple breath.

    As Franco talks of her, that segment is peppered with images of her from the film, the rest of the film was beginning to blur but every single one of those I could instantly remember—crouched before a fireplace holding her knees, grazing a thigh, splayed on a bed, pensive with sunglasses in the car, gypsy tinkle in the eye before murder, playful dancing out of her skimpy skirt, I will probably revisit the film years later and be able to recall every pose. And isn't this what the film is about?

    It's Franco photographing Soledad.

    There's a surrogate father here who, in essence, takes Soledad on the journey to staged erotic images. Franco is actually in the film as the 'writer' looking for a fascinating character.

    It's probably his most pure, because it is most purely about his desire to photograph beauty (and murder). The film begins with a softcore scene that leads to strangulation, 'looked on' by Franco as the director. Framed as Soledad's confessional to Franco, the whole film is gauzy, erotic reminisces on a deathbed. So how poignant when you know that she was already dead when the film was released? That, framed as memory, this is the last we'll see of her?

    And the images? The violence is tame by contemporary standards, which is for the better, fewer distraction. Being so blatantly stagy, it even adds to the effect. And whereas the male-driven story of violence is typically sloppy, the images, Soledad's images as she remembers, attain a unique quality. Soft around the edges, selfless by contrast to Sade's juvenile philosophy of selfishness.

    Seeing select footage of this at some film festival, you'd call it experimental. Sometimes the camera roams over mundane details, sometimes it floats in air, sometimes it blurs and finds again, faces, textures of weather. It's as if someone is trying to remember, distorting, fixating, carried along by intruding thoughts—a sort of inverse visual Lolita.

    It isn't self-consciously so, which again is for the better. A filmmaker with a semiconscious talent for images, films a woman (not outright sexy) semiconscious of her allure. It's great if you can drift in that space between them.
    Bunuel1976

    EUGENIE DE SADE (1970) – First Impressions

    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
    Michael_Elliott

    Soledad....How Great She Is Here

    Eugenie De Sade (1970)

    **** (out of 4)

    One of Jess Franco's best has Soledad Miranda playing the naive Eugenie, a young girl who one day discovers a sexual book that has been hidden by her stepfather Albert (Paul Muller). Soon the two begin a series of murders just for the sake of being able to get away with it and their weird connection eventually leads to a sexual relationship.

    Based on the work of Marquis de Sade, this film here is without question one of the director's best and there's no doubt that it's the best film that he and Soledad worked together on. While VAMPYROS LESBOS and SHE KILLED IN ECSTACY are much more popular and known films, this weird sexual drama manages so many things and contains such great performances that it's hard to think of the director and star being able to do anything else better. There are certainly some flaws to be found in regards to the plot but the overall weirdness created by Franco is just something rather unique and special in its own way.

    The film certainly works so well because of the two lead actors. Miranda was always good when she worked with Franco but this here is without question her greatest performance. Her character goes through quite a few awakenings here and I thought the actress perfectly captured all of them. Just look at the opening shot of her when we just see her sitting in a chair. Just the look in her eyes tells us everything we need to know. Whenever it comes time to seduce her father and other victims, the actress pulls this off without a problem. She even has some comic moments here including a striptease sequence. As great as Miranda is, the attention often makes one overlook how great Muller is as well. I really thought he managed to pull off this role and the snake quality he brings really helps the film. This is especially true because you believe that you're watching such a sick person who would plan not only these murders but the seduction of his stepdaughter and another crime that I won't ruin for those who haven't seen the film.

    Franco's direction is also among the best of his career as he makes the film flow very smoothly. He takes the film from one weird sequence into another and manages to make you like both of these characters no matter how strange and diabolical they are. Another major bonus is the terrific score by Bruno Nicolai, which perfectly captures the innocence of the girl at the start of the film and the weird sexuality she begins to go through. EUGENIE DE SADE features a director at the top of his game, an actress at her very best and a score that just perfectly brings everything together.
    Macabro

    Soledad Miranda

    The first Jesus Franco movie that I saw was Vampyros Lesbos. I liked it very much... it was different, strange and almost hypnotic. I must admit that I liked his style, but the main reason that I continued watching his movies was that in several of his movies he casted Soledad Miranda; a gorgeous Spanish actress that lived in the 70's and that played lead roles in some of his movies. Her screen presence was so powerful, mysterious and unlike any other Hollywood actress today.

    Anyways, Eugenie is a story of sex, crime, love and devotion. Miranda plays Eugenie, a quiet young girl that lives with her stepfather in Europe. The stepfather is a famous writer with a secret and perverse dark personality. As the movie develops, Eugenie gets involved with her stepfather in his second personality becoming devoted to his malevolent desires.

    The score of the movie blends perfectly with the atmosphere and the characters. The camera work in some scenes is unique and experimental. The movie might seem absurd to many viewers because not everyone is ready for a movie of this class. Overall the movie is good in the style of Jess Franco. Anyone wanting to experience a Franco movie should definitely start with Vampyros Lesbos, as it stands unquestionably as his masterpieces.

    इस तरह के और

    Vampyros Lesbos
    5.3
    Vampyros Lesbos
    Sie tötete in Ekstase
    5.6
    Sie tötete in Ekstase
    De Sade 70
    5.2
    De Sade 70
    A Virgin Among the Living Dead
    4.9
    A Virgin Among the Living Dead
    La comtesse noire
    4.7
    La comtesse noire
    Fascination
    6.0
    Fascination
    Les raisins de la mort
    6.0
    Les raisins de la mort
    La comtesse perverse
    5.3
    La comtesse perverse
    Justine
    5.1
    Justine
    Der Teufel kam aus Akasava
    4.8
    Der Teufel kam aus Akasava
    Sex Charade
    5.8
    Sex Charade
    Nachts, wenn Dracula erwacht
    5.6
    Nachts, wenn Dracula erwacht

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      The shooting started early 1970, just after Nachts, wenn Dracula erwacht (1970).
    • गूफ़
      When Albert enters the room to photograph the model, she sits on the couch twice.
    • भाव

      Albert Radeck de Franval: Eugenie, you've just discovered life's deepest purpose: the quest, the grail mankind has sought throughout the ages - ultimate power of human beings. Yes, the power which comes from the pleasure of giving pain. Living each moment with intensity and awareness while they suffer. You'll find out that the key to life is nothing but your own pleasure. You'll be amazed to find out that pleasure is always at someone else's expense. We'll carry this to its ultimate expression through wounds and blood and death. I know you'll love every moment of it. You'll revel in the secret knowledge of having done something savagely beautiful but forbidden.

      Eugénie Radeck de Franval: I accept. I'll do absolutely anything you want me to, anything you say. Your will will be mine. We'll act as one. I had a premonition - that life would be full of passions, how it's marvellous what we've become to each other. Father, I promise to obey you.

    • कनेक्शन
      Featured in Nightmares Come at Night: Eugenie's Nightmare of a Sex Charade (2013)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल12

    • How long is Eugenie de Sade?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 1973 (लिकटेंस्टीन)
    • कंट्री ऑफ़ ओरिजिन
      • लिकटेंस्टीन
      • फ़्रांस
    • भाषाएं
      • फ्रेंच
      • जर्मन
    • इस रूप में भी जाना जाता है
      • Eugenie De Sade
    • फ़िल्माने की जगहें
      • Europa-Center, Charlottenburg, बर्लिन, जर्मनी
    • उत्पादन कंपनी
      • Prodif Ets.
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    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 26 मिनट
    • ध्वनि मिश्रण
      • Mono
    • पक्ष अनुपात
      • 1.66 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Eugénie (1973)
    टॉप गैप
    What is the Spanish language plot outline for Eugénie (1973)?
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