De Sade 70

Jess Franco - smut king with talent. Maybe not at his best in this film, but worth buying for de Sade's writings flung into (what was then) present day, as an innocent girl gets seduced by a pervy couple and goes to stay with them upon her father's agreement. She gets sucked into a perversion story before becoming the perversion herself, when violent things naturally happen.

The sex is very restrained for a Franco film, and Chris Lee looks vaguely ashamed in a limited role. But Lee's comments on the DVD about finding himself in a film showing in porn cinemas in Soho, entirely to his surprise, are worthy of purchase alone. He also praises Franco, as he should - the guy has vision, but don't ask me what that vision is!

To see Jess Franco at his erotic best, buy Female Vampire. For Franco completists, and fans of: quirky genre films, the forgotten roles of Christopher Lee, or mildly spicy filmic delights - get to see Eugenie!

Eugenie...the Story of Her Journey Into Perversion (1970)

*** (out of 4)

Jess Franco takes Marquis de Sade's Philosophy in the Boudoir and turns it into one of his best films. A young woman named Eugenie (Marie Liljedahl) is sent off to an island with Madame Saint Ange (Maria Rohm) and her perverted brother (Jack Taylor) and before long the two are sexually assaulting the girl as they act out various de Sade stories. EUGENIE is certainly one of the most bizarre films from this era and I don't think anyone other than Franco could have pulled the material off. I'm sure someone could have filmed a pretty version of this story but I think Franco perfectly nailed the situations because we're basically given one big nightmare for this girl with a psychedelic vision and a terrific score by Bruno Nicolai. What works so well with this film is the vision on its director because you really do feel as if you're watching some sort of strange and perverted trip. I really loved the red tinting that Franco used during certainly scenes and especially all through the finale. This really does add a surreal feel to everything you're watching. Add in the terrific score, which at times is rather playful (example: when Rohm helps Liljedahl with a bath) and at other times creepy and perverse. Another major plus is that Franco is given one of his best casts to work with. I thought Liljedahl was very good in her role. Yes, there are times where she can't fully capture the deprived situation of the character but other than this I thought the actress looked the part and was quite believable during the seduction scenes. Taylor isn't a master actor or anything but he manages to turn in a fine performance as does Paul Muller in his brief role and Herbert Fux in his cameo. It's also fun seeing someone like Christopher Lee in a film like this even though he wasn't aware of what type of film they were making around him. Rohm is the real stand out here as she's really one of the main vocal points in the film. She certainly has the look of the character but also manages to make you believe in everything she's doing. EUGENIE has some flaws throughout including some pacing issues and there are times where the soft or out of focus cinematography is just rather annoying. Still, this isn't a very easy story to tell but Franco brings it to life like only he can.

In a career that spanned seven decades, Jess Franco achieved over 200 directorial credits in numerous genres, with the quality of his output varying wildly from inspired surrealism to entertaining sleaze to almost unwatchable garbage (with the majority tending to veer towards the latter). However, although Franco's skill as a film-maker was questionable, his ability to get hot Euro-totty to strip off in front of a camera and do whatever he asked was never in doubt, and large doses of frequent female nudity frequently made his movies more bearable.

Eugenie... the Story of Her Journey Into Perversion is a prime example of an otherwise rather dull (despite the lurid subject matter) and not particularly well directed movie made more enjoyable largely thanks to Franco's remarkable way with women. His two female stars in this film—regular Franco actress Maria Rohm and Swedish sex-bomb Marie Liljedahl—regularly disrobe, give each other rub-downs, and indulge in all manner of kinky activities, all of which helps the time pass a lot less painfully.

Stylistically, the film is fairly typical of Franco's work from the 60s and early 70s, when his films reflected the fashion and mood of the times, exploited the liberated attitudes of the young and incorporated psychedelic visuals to enhance the hallucinatory vibe. Nudity aside, the groovy music by Bruno Nicolai is probably the films greatest strength, his jazzy score really adding to the creepy, decadent vibe. The film is also notable for it's cameo by Christopher Lee, who doesn't get involved in the saucy action, but is still probably not all that proud of his involvement.

5.5 out of 10, happily rounded up to 6 for the lovely Marie Liljedah, who almost rivals Christina Lindberg in the major Swedish babe stakes.

Having read a lot of positive reviews about this film on the Internet (and the mystique surrounding it due to unavailability), it was no real surprise that it would be the first Jess Franco title I decided to seek out. Overall, I'm very glad I finally took the plunge to discover for myself Franco's very distinctive world-view. And I know this is one film I'll be looking forward to watch again – and not purely for its exploitation value, mind you!

De Sade was most certainly a writer ahead of his time, so the updating to modern times comes off particularly well here. Production values are efficient enough and generally manage to belie the low-budget Franco and producer Harry Alan Towers had to work with; Franco's mise-en-scene is quite confident and the film is certainly good to look at. Still, what holds one's attention here is the invigorating 'atmosphere' of decadence which Franco manages to create around a flimsy but fascinating plot. Perhaps thankfully, the film is not all that long so that it does not overstay its welcome.

While there is certainly a great deal of nudity on display, the film rises above being mere exploitation fare - which I assume is a rare feat for this director, considering his notorious reputation. It is aided a great deal by genuinely interesting characterizations, particularly the two female leads: Eugenie's blind faith in her obviously more experienced mentor is so complete that she doesn't realize until too late that she is being manipulated; Marianne herself comes off as fairly sympathetic despite her devious nature – all in all, a human being, and we feel sorry for her when she dies (at least, I did!); even the minor supporting characters are put to good use, like the black boatman/guitar player and the deaf-mute servant, which is not often the case with these type of films.

Having said all this, I would be lying if I said I thought that EUGENIE… THE STORY OF HER JOURNEY INTO PERVERSION was a perfect viewing experience. Despite the attractive scenery, I found the numerous out-of-focus shots very distracting and rather than aiding the hallucinatory nature of the story, they end up being merely annoying. Furthermore, I felt that some of the S & M sequences could have been better staged. Besides, there are some inconsistencies in the plot as well: whereas the black boatman is at first depicted as being contrary to the pagan practices, he is seen to join in during the final ceremony where Marianne meets her come-uppance.

The casting is OK, I guess, but it still comes up short in my opinion: Marie Liljedahl, nice-looking though she obviously is, is not entirely comfortable with the complexities of her role (particularly towards the end, where she is unable to properly communicate Eugenie's psychological 'degradation') [N.B.: I tend to agree with what Glenn Erickson wrote about this in his review of the R1 DVD on the 'DVD Savant' website: 'The supposed 'corruption' of Eugenie is completely unconvincing - she remains a duped puppet. When she kills the first time it is out of fear, and the second time is just not fully explained. You don't get the idea that she's progressed to the point where she can 'replace' her hostess in the cult, and that turns out not to be the plan anyway.']; likewise, Jack Taylor - though suitably enigmatic and, at times, even vulnerable - hardly makes for a compelling screen presence. On the other hand, for me, Maria Rohm is the focus of the entire film and she also gives the best performance. Christopher Lee, despite his brief appearance, is smoothly sinister and a definite plus to the proceedings; in fact, he and Rohm make for a much more convincingly 'evil' pair. Then there is Bruno Nicolai's music: a very fine score and a memorable one, but which I feel is, in spots, a bit too jovial for its purpose.

I had already read that the story of the film was 'imagined' by Marianne in online reviews, but it still managed to take me by surprise when it happened. At first I was a bit let-down by this 'flashback' device – for me the film would have ended ideally when Eugenie runs out of the house, comes upon the graves on the beach and realizes that she is trapped on the island which is enclosed by barbed wire. Even the next morning shot when the police siren is heard sounding off in the distance was rather unnecessary. However, upon realizing that everything that we had been watching has yet to take place, rather than seeming a 'cop-out' (akin to what contemporary critics had said of the similar ending to Fritz Lang's marvelous THE WOMAN IN THE WINDOW [1944]), it just added a new layer of subversion to the proceedings. It not only implies that Marianne actually relishes the thought of perishing at the hands of her beloved Eugenie but also that this eventuality would be the epitome of a vicious circle of lovers killing each other as a climactic finale on which to end their relationship, tenuous as that may have been: Mirvel (Marianne's stepbrother and long-time lover) kills Theresa (also perhaps once Marianne's lover); Mirvel is in turn killed by Eugenie (Marianne's present lover); Eugenie was to have been killed by Marianne but with the aid of Dolmance (conceivably once also Marianne's lover) kills Marianne instead; Dolmance (also presumably lusting for Eugenie) double-crosses her and pins all three murders onto her, etc.

The acceptance of the dream-state as the environment in which the film is ultimately taking place seems to excuse and indeed justify some of those technical fallacies and character inconsistencies of which I spoke earlier, for what dream is anything but an imperfect and half-remembered rendition of real-life events? In the end, therefore, the impression I was left with regarding the ending was more comparable to the open-ended and ambiguous one found in Luis Bunuel's magnificent BELLE DE JOUR (1967) which could be interpreted in any number of legitimate ways.

Though the film was apparently shot in English, the soundtrack was looped later in the studio. In this respect, it isn't too bad if not always in synch which can prove a distraction. After the many glowing reviews I had read, I found the DVD transfer to be somewhat disappointing (even if I can entirely understand its shortcomings) but, as it is, there is simply too much grain in exterior shots and the print is also a little faded in spots. The extras are fantastic: the 17-minute documentary is excellent indeed, particularly Franco's sincere ruminations about the film and his own working conditions; he comes off as a quite pleasant, even intelligent, man – and completely unpretentious. Tim Lucas' liner notes are a good read, even if he feels a bit over-awed by the film's many (and doubtless genuine) 'qualities'.

In the end, EUGENIE…THE STORY OF HER JOURNEY INTO PERVERSION - or, as it's called on Anchor Bay UK's R2 disc, MARQUIS DE SADE'S PHILOSOPHY IN THE BOUDOIR - may not be a very subtle film (certainly not much is left to the spectator's imagination) but, for all its faults, is quite often a sublime one.

It is not difficult to understand why this languorous Franco ero-drama caused quite the controversy when released in 1970. It is sexually frank and throws in incest, lesbianism and interracial kissing with gleeful abandon.

Today, it seems very tame from a graphic point of view, but its sexual politics are way ahead of the ultra-conservative (sexual) climate the film industry currently operates in.

This is not an el cheapo Franco flutter shot on a castle set with bad lighting and hit-and-miss focus. It is beautifully shot by Manuel Merino and, as always, Bruno Nicolai delivers a rich, evocative score.

Eugenie's "journey" into perversion encompasses light lesbianism, a little rough intercourse and some soft whipping of her tender breasts. She emerges more lost and confused than liberated and ends up wandering nude for several minutes on an island; this sequence, the film's strongest, is quite surreal.

Marie Liljedahl, who plays Eugenie, is not Soledad Miranda, and is quite bland in her leading lady role.

Jack Taylor is suitably oily as Maria Rohm's lust-filled brother and Rohm makes the most of her role as Eugene's corrupter.

I like EUGENIE DE SADE quite a bit more than this and find it far more erotic, but this is worth a look, if not high praise.