Surprisingly incoherent and boring

Good , But It Is Overrated By Some

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

The best films of this genre always show a path and provide a takeaway for being a better person.

Is 'Eugenie de Sade' simply an excuse for Spanish Director Jess Franco to film as many shots of Soledad Miranda's semi-naked body as possible? What do you reckon? Did he even need an excuse? Whether curled up in front of the fire, walking through the snow in a large hat and leather coat or sprawled out on the bed, Miranda (who plays Eugenie) is a true presence. Not just because she is stunningly beautiful. She exudes more than that. The fashions from Franco's projects from this period (or many projects from this period) often strip anyone of dignity or appeal, but Soledad somehow rises above the red leather boots and the outsized shades etc, remaining captivating throughout. And mainly, as is proved here several times, she was a terrific, uninhibited actress.Here Eugenie recounts the film's story whilst lying broken in a hospital bed – horribly pertinent since Soledad was dead by the time of the film's release. She relays her story to writer Atilla Tanner (Franco), who wishes to write a book about her father Albert's life. He shadows her throughout the story, not condoning nor condemning her actions.Albert Radeck de Fanvel (Paul Muller) is a writer of erotic books – when his daughter discovers one, it opens her mind to a new world of desire, and this is centred upon her father. They agree to go on a murdering spree, with Albert taking pictures whilst Eugenie commits the atrocities.One such moment involves inviting a blonde Austrian hitch-hiker back to the family home, where a drunken evening brings on a selection of increasingly uncomfortable 'games'. There is a definite sense of dread, because we are sure the girl will be murdered – but what form it will take isn't revealed for a while, until things have become progressively perverse. All of this fuels their desire for one another.This is rare for Franco in that the intended 'eurotica' is actually erotic. No ham-fisted fumblings here with the camera trying to keep up with things. When one of their victims is young, male and handsome (Paul, played by André Montchal), the inevitable happens, and Eugenie falls for him. Dad, who killed his wife for her unfaithfulness, is not happy.One thing that separates this from many Franco films that are usually bathed in searing sunshine and exotic locales, is that this is set during the winter, and a pretty heavy one at that. It adds an extra element to the bleak unreachable debauchery of the father and daughter's murderous escapades in what is often a three-hander: Miranda, Muller and Franco.Only the ending lets things down a little. Low-key is one way of putting it. Like other such films, it doesn't end, it just sort of stops, with (in this case) Franco as the last performer we see – and for all his skills as a director, his acting pales in comparison to everyone else on screen. A beautiful film, though, and probably the best showcase of Soledad Miranda's talent.

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.

Jess Franco has almost 200 directorial credits to his name, so with that in mind; it's not surprising that the vast majority of them are rubbish. Jess Franco certainly does know how to make a bad movie, but clearly he knows his way around a good one too, and while they're in a minority in the man's vast filmography; there are some very good Jess Franco films, and Eugenie de Sade is one of the very best of them! This is one of seven films that Franco directed in 1970 (the second titled 'Eugenie', no less) and it's a film that could almost be considered a shame; because it proves that Franco can be great if he put his mind to it, and I'd rather have ten films like than a hundred cheap and rushed sex flicks. Anyway, the main focus of the plot is the title character; Eugenie is a young girl who falls in love with her stepfather Albert; a writer of erotic fiction, after reading one of his books. It's not long before he notices and despite the incestuous implications of their relationship, he entices Eugenie to join him in his sick sex games that stretch into murder.I have to admit that the main reason I was so keen to see this film was due to the fact that it stars the amazing Soledad Miranda. This actress made a number of films with Jess Franco (including two of his best, Vampiros Lesbos and She Killed in Ecstasy) and it's a real shame that she died prematurely as she was a good actress and a pleasure to watch on screen. I have not seen many of her movies unfortunately, but from the ones I have seen - she is at her best in this one. She fits in brilliantly with the sordid tone of the film and creates just the right balance between innocence and sadism. The style of the movie is very European and Franco obviously valued how important it was to ensure that the film is erotic. There are several standout scenes; the best of which sees Soledad Miranda and Paul Muller entertain an Austrian hitchhiker that they picked up in the middle of nowhere. The film is apparently based on the writings of the Marquis de Sade; not having read any of his material, I can't say how faithful it is but there is plenty of sadism in this movie. The plot is strong for the duration and Franco manages a satisfying ending too. Overall, this is among the cream of Franco's crop and comes highly recommended to all Eurocult fans!

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