Eugenie de Sade

I love that watching Jess Franco movies teaches you all sorts of secret facts, like how this movie is not Eugenie... The Story of Her Journey into Perversion, an adaptation of de Sade's book Philosophy in the Bedroom as this is based on the book Eugénie de Franval. They're totally different albeit similar movies because, well, look, Franco can be difficult before you even get into him making three cannibal movies in a year that are all rather alike or remaking Exorcism in a bunch of different cuts. It's worth it. Eugenie (Soledad Miranda) starts the film on her deathbed, explaining her sordid life to, well, Franco as she relates the story of how she fell in love with her stepfather Albert (Paul Muller) through the books that he wrote and how that leads her into a world of perversion. At first, that's just, you know, incestual BDSM, but that's never enough and before you know it, they're taking photos of Alice Arno all tied up and killing her. But when her father demands that she kill a jazz musician, she falls in love and starts on the road to her demise. It goes without saying that the reason why this movie works is Miranda. She's a force of nature, someone who can devastate the lives of men and women while putting herself on her knees in front of a man who sees cruelty as love. She's devoted to him at her own peril and yet, when the lure of the carnal darkness enters her soul, she can't help but submit. Don't go into this expecting a sexy bit of froth or a good time. Sure, there are gorgeous bodies on display but there's also an understanding that nothing good or lasting can come from the union of Albert and Eugenie. A drinking game between father, stepdaughter and hitchhiker (Greta Schmidt) is filled with menace even when it seems like it's about to be a sex scene because even now we're predisposed to the conventions of adult film. Leave it to Franco to break this up by making it deadly. Miranda didn't want to shame her parents by appearing * so she used the name Susan Korday, a combination of Valley of the Dolls writer Jacqueline Susann and the director Alexander Korda. As this movie was made in 1970 and not released until 1973, by the time the world saw it, she was dead, the victim of a car crash. Her hold over us - not just Franco - was frozen in ember by her demise.

Like another reviewer here, I was simply blown away by this indescribably macabre film, and I consider it to be possibly, Jess Franco's masterpiece. Normally it is style over substance when it comes to Franco's work; not so here. The story was gripping and utterly mesmerizing from the first minute, up until the last beautiful frame. In what must be the strangest, most disturbing father/daughter relationship ever filmed, we have the beautiful Soledad Miranda, who discovers her father is living a horrifying secret life. Rather than being repelled, Eugenie is fascinated, and excited, much to her father's delight. The two of them become a team, both in and out of bed, as they embark together on a shocking sex crime spree! The film's minuscule budget actually is responsible for the starkly gorgeous look of the production; reds and dark greens are the primary colors, with indoor shots being of well-appointed homes with red satin curtains and red carpets. Franco wisely decided to film the whole thing in Berlin and Paris, in the dead of Winter, and the snow covered outdoors look haunting and ethereal. And it is the perfect setting for the pale, porcelain beauty of actress Soledad Miranda. The subject matter is so creepy and disturbing that it actually made me a bit uncomfortable even watching, but it really is impossible to turn away. "Eugenie" possesses a genuine feeling of evil, unlike anything that other horror films have achieved. And even with all the morbid goings on, I was moved and saddened by the tragic end, and the demise of a musician whose only mistake was having some bad luck. Jess Franco even cast himself in this, in a pivotal role, and he is wonderful to watch as well; what an unique and fascinating guy! Anyway for fans of Jess Franco, who have not seen this lesser-known title, i recommend it highly! and for fans of films about sexual deviance, such as "Peeping Tom" or "The Night Porter" this cannot be missed. I will even go as far as to say that "Eugenie" is in the same league as Nicolas Roeg's "Don't Look Now."

Jesus Franco is now a full-fledged cult legend, and EUGENIE DE SADE, from 1970, is one of his absolute best films (and, to be clear on the point, Franco, in spite of what one may hear from his detractors, has a LOT of great work under his belt, and you've never seen one Franco film until you've seen them all). The movie--obsessive, disturbing, and still darkly romantic--is based on "Eugenie de Franval," by the Marquis de Sade, but updated to a modern setting. It tells the story of a very twisted but quite brilliant writer named Radek (played by Paul Muller) and his step-daughter Eugenie, whom he has raised from birth. Radek's wife had already been pregnant when he married her, she'd died not long after giving birth, and he'd raised Eugenie himself, but not necessarily out of fatherly affection. He had a much darker agenda, as we soon learn. He has, in fact, raised her to be his perfect companion, a lover and a collaborator in his various and sundry crimes. Radek is a Sade character, recall. He kills people just because he likes to do it, and, more importantly, because he likes to prove to himself that he can get away with it. Eugenie is sucked into his madness, and the movie records it all. Eugenie is played by the ravishing Soledad Miranda, then one of Franco's regular stable of performers, and she has never looked better than in this film. Only in her mid-20s at the time, she pulls off a balancing act, in her performance, that would have been impressive for an actress of twice her years. Eugenie willingly participates in all of her step-fathers' horrors, yet still retains an air of innocence--she is a victim as well as a perpetrator. One online review of the film said Paul Muller is totally miscast as her stepfather, and I couldn't disagree more strongly. His intensity is piercing, and he nails every note of his performance like a virtuoso. It is, in fact, difficult to imagine anyone else in the part. Originally, Franco was going to make him Eugenie's real father, as in the book, but he changed this out of censorship concerns. Still, the incest theme is quite icky, and Muller is extraordinarily creepy. Kudos, also, are due to the films' fantastic score, another shot out of the park by the most excellent Bruno Nicolai--a perfect marriage of image and sound. Like Eugenie herself, it suggests both innocence and corruption, and makes no judgments on the proceedings. The atmosphere in this one is stifling, at times, and I imagine some would feel the need for a shower after watching it. One shouldn't feel too dirty, though; this is great movie-making.

There must have been some creative photography work or it took four years to edit and perhaps add more footage but Soledad died in a car crash Aug 18 1970. How Franco directed her beyond the grave must be one of the arcane skills of this director. Maybe bringing back Monroe, Orson Wells, and some others to act would be a worthwhile event.. but seriously, someone should find out how or why this took so long to make.. Perhaps her accident wasn't. Just part of the trivia this director has created.. I mean really just how many Eugenie did me make - four?? I like Lindberg's the most... and yet I still have to write... to make another line

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!

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.

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.

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 made so many movies and has been part of the Euro trash consciousness for so long that the "idea" of Franco and his unique work is sometimes more powerful than the films themselves. The exquisite Soledad Miranda is the main reason for spending ninety minutes with EUGENIE. She has a natural, magnetic, erotic presence that is both remote and engaging. She personifies the genre like no other. Eugenie and her stepfather Albert (Paul Muller) indulge in semi-incestuous activities and murder a couple of attractive women for pleasure. A writer, played by Franco himself, usually turns up at the scene of the crime to communicate his approval or sound a warning that their crimes are not going unnoticed. Ms. Miranda spends lots of quality time sitting around in ultra-skimpy skirts and in no skirts at all. Franco never misses an opportunity to glance between her enticing thighs or ogle her pretty bottom. His is the gaze of a true obsessive, and his muse (whom he was romantically involved with for some time) provides us with creamy erotic fantasy. The film has a languorous, dreamy shooting style and the simple, sometimes haunting score (by Bruno Nicolai) smooths over the transitions. Sometimes the shots are out of focus or bumpy, but it doesn't really matter. Clearly, Franco was happy to apply an experimental style to films like this (and VAMPYROS LESBOS, for example) and he achieves a loose, dreamy effect. I must admit, though, that I could have done without Paul Muller's hairy back during his major sex scene with Soledad (but that's just me).

Eugénie, Soledad Miranda's first truly starring role in a Jess Franco film, is based on the Marquis de Sade's Eugenie de Franval, and it is a very faithful adaptation by Jess Franco. Soledad plays Eugénie, the daughter of Albert de Franval, an acclaimed writer who, under the pen name "Radeck," is engaged in researching into sexual perversion. Eugénie is a shy, bookish girl whose chance discovery of one of Albert's erotic books unleashes a powerful incestuous attraction. When he becomes aware of this, he introduces her to his sadistic philosophy and they quickly become partners in sexual crime. Their addiction to committing the perfect crime leads them to their next intended victim, a nightclub musician. Yet Eugénie ends up falling for him and her father takes revenge out on everyone. Soledad dominates and enriches the film; her coquettish behavior and enigmatic screen presence make it impossible to look away. She seems to spend half her screen time curled up with her knees to her chest, looking perfectly innocent, which makes her turn to the "dark side" all the more interesting. Franco appears throughout the film as Attila Tanner, a writer intent on learning more about Albert. The film's storyline is told from Eugénie's deathbed as she recounts her tragic life to Tanner. A lush and haunting melodic score by Bruno Nicolai adds to the beauty of this film.