Lady Doriana Grey, who haunts her isolated castle, and her twin sister who has been driven insane after being institutionalised at a young age. In the mental facility, the sister is under th... Read allLady Doriana Grey, who haunts her isolated castle, and her twin sister who has been driven insane after being institutionalised at a young age. In the mental facility, the sister is under the care of Dr. Orloff. The two share a psychic connection, and along with their similar loo... Read allLady Doriana Grey, who haunts her isolated castle, and her twin sister who has been driven insane after being institutionalised at a young age. In the mental facility, the sister is under the care of Dr. Orloff. The two share a psychic connection, and along with their similar looks, they apparently have another common bond. It would seem that Doriana is unable to expe... Read all
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However, the movie's narrative struggles to fully coalesce its thematic ambitions, resulting in an uneven viewing experience. While the lush, Gothic-infused visuals and Franco's distinctive directorial style enhance the film's unsettling and erotically-charged atmosphere, the pacing and structure often feel disjointed, with moments of gripping tension intermingled with more languid, dialogue-heavy sequences.
One aspect that is sure to polarize audiences is the inclusion of unsimulated sexual content, including a graphic blow job scene and masturbation sequences featuring Romay. These explicit moments, while undoubtedly pushing the boundaries of erotic cinema, do not always feel seamlessly integrated into the narrative, at times threatening to overshadow the film's thematic depth.
The Marquise's motivations and the societal/historical context that shaped her disturbing worldview are intriguing, but the film never quite reaches the level of psychological insight one might hope for. Ultimately, "Die Marquise von Sade" is a film that will likely appeal most to ardent fans of Jesús Franco's oeuvre and those seeking a provocative, visually striking exploration of the darker aspects of human sexuality. For others, the uneven execution and explicit content may prove to be a barrier to a fully satisfying cinematic experience.
Some of the actors seem to be playing their parts in a trance, as if hypnotized before shooting, like the cast of Herzog's Heart of Glass. The English dubbing, too, is mostly monotone, which only enhances, rather than hurts, the timeless, otherworldly atmosphere, with dialogue ranging from the seemingly lofty ("It is the destiny of all beauty to be destroyed") to the simply lewd ("Go down on me").
The DVD, as of writing, has long gone out of print, but Franco enthusiasts are encouraged to look for this one. The staring, frightening lust expressed in Lina Romay's eyes alone is worth at least one visit to her château.
Directed by Romay's extremely prolific filmmaker husband, Jess Franco, this is interesting as far as adult films go. It foregoes such things as story in favour of multiple sex scenes, both lesbian and heterosexual. (Doriana has a male servant named Ziros (Raymond Hardy) who gets his fair share of action.) The abundant female and male nudity will definitely keep viewers happy. There's even a hint of something like vampirism due to the fact that people don't always survive these sexual unions. Franco's film does seem to have *some* intellectual aspirations, given that Doriana is interviewed by a journalist (Monica Swinn) who is intrigued by her personality and lifestyle. And "Die Marquise von Sade" is attractively photographed (by Peter Baumgartner and Franco himself) and designed, with an amusing sitar-based music score composed by Walter Baumgartner.
Of course, the main reason to watch is to see Romay, Franco's longtime muse, in a thoroughly uninhibited performance. She's quite enticing.
Seven out of 10.
Did you know
- Alternate versionsExist in 2 main versions. The full version with hardcore footage runs around 72 minutes (PAL) whereas the cut down softcore version runs around 72 minutes (PAL).
- ConnectionsReferenced in Herschell Gordon Lewis: The Godfather of Gore (2010)
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