Year: 1967
Duration: 01:09:30
Directed by: Richard Hilliard
Actors: Sheldon Pearson, Cindy Ellis, Penelope
Language: English
Country: USA
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Description:
Missing for nearly 50 many years this super uncommon film by director Richard Hilliard (VIOLENT MIDNIGHT) was recently rediscovered and it is provided right here for the very first time. It revolves the story of an author, obsessed with all the Marquis De Sade, who starts to live out De Sade’s violent intimate fantasies. Featuring the spectacular Babette Bardot (Russ Meyer’s MONDO TOPLESS) and a number of various lovelies!
Predating American International’s DE SADE (1969) as well as Jess Franco’s own authoritative Sade adaptations JUSTINE (1969), EUGENIE: THE TALE OF HER JOURNEY INTO PERVERSION (1970), and EUGENIE (1970), Hilliard’s movie has some bits that may have already been encouraged (or maybe anticipate) the delirium of Corman and Franco; however, the most appropriate option to describe it could be the Sadeian counterpart to Lou Campa’s version of VENUS IN FURS (1967). There’s breasts, whips, and blood.
The script is literate whenever stringing together lines from “Juliette”, “Eugenie de Franval” and “Philosophy within the Boudoir” (either Hilliard read these works or picked out these bits as quoted in the basic essays incorporated into Grove Press’ versions since a number of them crop up in Maurice Blanchot’s essay in “The Complete Justine, Philosophy within the room, and various other Writings”), but laughable the remainder time (while musing about marrying and murdering his sugar mama and then going to the gas chamber, Donald – I’m guessing it’s the nearest thing in English to Sade’s provided name Donatien – likens the gas pellets to “Alka Seltzer sizzling in a bowl”). It’s a fascinating early treatment of Sade – not seeming whatsoever to be affected by Freddie Francis’ THE SKULL (1965) or Robert Bloch’s source story – but isn’t risky (or risqué) adequate nor does it recognize the opportunities of this protagonist’s journey what aided by the hole dying-of-cancer thing staring him into the face and after that later forgotten about.
None for the various other feminine figures have names (inside the narration, Donald alternately calls his sugar mama “Queen Walrus” or “The Hippo”) plus they’re only listed as “The ladies” within the opening credits – presumably “Babette Bardot” is the performer – with Pearson, Porter, and Dorna MacDonald (once the lender teller later into the movie) attached to characters. The celebrity who plays the British driver provides the best performance, and is also properly given a goodly level of display screen time (and gets the final word in). A “William Weaver” is paid because cinematography, but Hilliard had formerly shot his very own debut THE LONELY SEX in addition to the Del Tenney productions THE CURSE OF THE LIFESTYLE CORPSE plus the HORROR OF PARTY BEACH, so he either shot I, MARQUIS DE SADE himself or at the least had more than a hand in the visualization. The jazzy score is paid to Elliot Kaplan (THE MEALS OF THIS GODS).
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