De Sade 2000

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 .

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.

First things first - 'Eugenie De Sade' isn't to be confused with Jess Franco's other De Sade adaptation 'Eugenie', which to make matters worse also featured Paul Muller, one of his regular actors. That Eugenie starred the gorgeous Marie Liljedahl, this Eugenie stars the gorgeous Soledad Miranda (Franco sure had some stunning leading ladies!). Miranda, who died tragically in the same year as this movie was released, is best remembered for her role in 'Vampyros Lesbos', arguably Franco's best film. Miranda plays Eugenie, the devoted daughter of Albert Radeck de Franval (Muller), a writer and researcher specializing in erotica. One day she reads a "forbidden" book from her stepfather's collection, and this irrevocably alters their relationship. She becomes his love slave and obeys his every command. He makes her his accomplice in a series of murders, and for a time, both are ecstatic. But when Eugenie begins to fall in love with her latest victim, Paul, a flaky jazz rock musician (Andres Monales, also from 'Vampyros Lesbos'), the wrath of de Franval is sure to be swift and savage. Having nosy writer Tanner (played by Franco himself) hot on their trail doesn't help matters any either. This is one of Franco's better efforts and as good a place as any to jump into his world. Franco's movies are generally stylish, erotic and dreamlike, and that certainly describes this one. The two leads are perfectly cast. Muller plays the jaded sophisticate very well, and Miranda is just beautiful. Anybody who has ever enjoyed a Franco movie should try and see this one. You won't be disappointed!

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.