De Sade

At the tender age of 17 I was dying to see this flick but blinked and it disappeared. Around that time i was interested in Sade (or "De Sade'), whose writings were being pushed by Grove Press. I read bits and pieces of his work which thrives on irony and paradox, staples of French lit. Those looking for cheap thrills in Sade will be disappointed as even the freakiest activities depicted are written in ironically refined language./ Anyhow, the person who wrote, "We see God the way a blind man sees colors," is depicted here as a lavender-clad fop w/ a crazy priest uncle (john Huston chews up the lavender here). Sade's real first name was Donatien Alphonse; here, God knows why, he's "Louis."/ The scattered plot, the period psychedelic colors, cheapo effects, and fleeting t and a typify early '70s "sexploitation" flicks. Most hilarious (and frustrating to some) is a silly, frantic "orgy" scene obscured by a lava-lampish red tint. Directed by Hollywood vet Wm. Wyler who tried liked hell to avoid that X rating via quick cutaways and a lot of running around, ripping up pillowcases, smashing champagne glasses, etc---but no screwing! So why'd the code bunch lump in "de Sade" w/ "Curious Yellow" which went all the way? Well, the name had a rep preceding it./ It is a fun movie to watch, the sumptuous sets and garish clothes shot in a fuzzy wash that shoots for "art". / In an ironic, nostalgic way, i appreciate "de Sade." It looks CHEAP, trashy, while EVERYTHING in film today is so high def as to be dull. "de Sade" sucks, but i love it. It's stupid, pretentious, smarmy FUN, an unintentional comedy. Those were the good old days!

I haven't seen Clark Gable in the now-mythic PARNELL, but Keir

Dullea, surely recruited for his hotness in 2001, takes the cake in

this 1969 A.I.P. telling of the life of the great whippersnapper. The

idea of translating the agonies and ecstasies of Sade into drive-in

terms is mouth-watering, but, aside from a few Jess Franco

zooms into undulating backsides (shot through whorehouse-red

filters), you're stuck in snoozeville with an empty tank of gas.

Worse (or perhaps better?), Dullea manages to make every

eighteenth-century line sound like a college basketball player's

attempt not to cry in front of Coach.

I wish they had saved the German version of this one, but alas, only the AIP version seems to turn up, though most versions are barely longer than the one USA network ran in their infancy. What was once given an "X" rating, barely rises above PG-13 standards for this new millennium. Dullea, fresh from "2001", is out of place amidst the tame exploitation, but gives it a good try. John Huston, in the midst of a long string of aging weirdo roles, steals the show easily. The script by Richard Matheson, is well done, but manhandled by the multiple directors different approaches, and the different exploitation requirements of the various producers. It easily extends the normal AIP formula, but falls short of it's goal to cross into more "Adult" film-making. Not worthless, but not all that thrilling, with much "dead Air"

Looking at it today, this film is a pretty tame story of the infamous DeSade, but at least it is the most highest budget version of th story, with a much better cast for this sort of material. What was once deemed X is pretty tame R by todays standards. Keir Dullea makes a very convincing DeSade without overacting, and John Huston brings integrity to the film with his powering presence. And the soundtrack is very good, the only thing odd is the beginning credit animation sequence, which looks like it came out of a psychedelic film, as you see a shadow painting of a bird man juggling a ball, then turning into a guy and a chick and a horse!!! Looks like it belongs in an animation short or something. Still check it out if you want to see a "Hollywood" version of the infamous character, told way too many times in cheapo Euro versions!

A strange little film from AIP, directed by Cy Endfield, no less. I suppose it's only of note these days for kick-starting a mini wave of S&M productions (many of them made in Europe by the likes of Jess Franco) inspired by the writings of the devilish Frenchman. This biopic takes an oddly romantic approach to De Sade's life, following his escapades through a series of random flashbacks which show his developing penchant for sadism as he ages. Keir Dullea can do little with such an unlikeable character, and the cast members such as John Houston and Anna Massey mostly fall flat, although Lilli Palmer still lights up in the screen in her middle age. Plus it's all surprisingly tame given its era.