Eugénie(Soledad Miranda)is a willing participant in her stepfather's Sadean games where they carry out planned "erotic murders" with their success deriving from the lack of worry towards being caught. The murders are often well thought out and orchestrated by Albert Radeck(Paul Muller), Eugénie's stepfather, an author of erotic masochistic tales, who delights in the pleasures of the violence and success they have in committing their sadistic deeds. As this process continues, Albert and Eugénie develop a sexual relationship. Albert confesses to Eugénie that he killed her mother for cheating on him shortly after giving birth to her..and foretells his plans of hara-kiri if Eugénie ever cheated on him. Albert develops a fixation with their games growing more dangerous and complex as a nemesis emerges, a writer/intellectual, the acclaimed Attila Tanner(Jesus Franco)who is an admirer of his and disagrees with his chosen path of murder. Albert designs a new mark, a jazz musician named Paul(Andrés Monales)desiring for Eugénie to seduce him..Albert wishes for Eugénie to break his heart so that he can capture Paul's suicide on film. What Albert doesn't see happening is Eugénie's falling in love with Paul...
Eugénie, from her death bed recalls her past with stepfather Albert, narrating the events to Attila Tanner.
Jesús Franco's film based on a tale from Marquis de Sade certainly captures a sordid atmosphere..I feel the film is challenging the viewer, by displaying the sexual dynamo Soledad Miranda(..a true screen siren who gives over to the role)in skimpy outfits and nude, often writhing in ecstasy on her bed longing for her step-dad's fingers across her flesh, embracing female victims with soft caresses from her touch and tongue, and sitting on furniture curled up like a little girl lost in her own little world of fantasy. I know that she is committing ghoulish acts, yet I find myself lost to her body, her face, her eyes, her entire being. I want to shake off my passionate feelings for her, because I know the benevolent acts she's capable of. Yet, while I have disdain for her role in multiple deaths, I'm overwhelmed with desire. See, I think that's the film's ultimate success..despite what she does, Eugénie is a goddess who could melt the hearts of many a man(..and woman). That's a credit to the otherworldly beauty of Soledad. As for the premise, as Tanner proclaims, Albert's schemes would soon catch up with him. It's the old adage that if you stick your hand near the flame long enough, eventually you get burned. Both get their just desserts for their infamous crimes. Nicolai's score really enhances this film because, I felt, it captures the eb and flow of Eugénie and Albert through their dark journey which could only yield tragic results. Franco's camera doesn't commit to the more grisly violence, either turning away or moving haphazardly avoiding direct contact with the weapon-of-choice as it pierces flesh..from the films I've seen of Franco, he's never been one for displaying explicitly violent acts. There's plenty of nudity(..Soledad even does a striptease)and a bit of sex. I expected the film to exploit the sexual relationship of Eugénie and Albert, but Franco doesn't embellish on that sleazy aspect too much. While the film has a tendency to "globe-trot", the beauty is never more abundant than when we return to Albert's wintry abode. But, the true beauty of this film, and her countless other pictures, is Soledad Miranda. Franco's lens worships her.
Eugénie, from her death bed recalls her past with stepfather Albert, narrating the events to Attila Tanner.
Jesús Franco's film based on a tale from Marquis de Sade certainly captures a sordid atmosphere..I feel the film is challenging the viewer, by displaying the sexual dynamo Soledad Miranda(..a true screen siren who gives over to the role)in skimpy outfits and nude, often writhing in ecstasy on her bed longing for her step-dad's fingers across her flesh, embracing female victims with soft caresses from her touch and tongue, and sitting on furniture curled up like a little girl lost in her own little world of fantasy. I know that she is committing ghoulish acts, yet I find myself lost to her body, her face, her eyes, her entire being. I want to shake off my passionate feelings for her, because I know the benevolent acts she's capable of. Yet, while I have disdain for her role in multiple deaths, I'm overwhelmed with desire. See, I think that's the film's ultimate success..despite what she does, Eugénie is a goddess who could melt the hearts of many a man(..and woman). That's a credit to the otherworldly beauty of Soledad. As for the premise, as Tanner proclaims, Albert's schemes would soon catch up with him. It's the old adage that if you stick your hand near the flame long enough, eventually you get burned. Both get their just desserts for their infamous crimes. Nicolai's score really enhances this film because, I felt, it captures the eb and flow of Eugénie and Albert through their dark journey which could only yield tragic results. Franco's camera doesn't commit to the more grisly violence, either turning away or moving haphazardly avoiding direct contact with the weapon-of-choice as it pierces flesh..from the films I've seen of Franco, he's never been one for displaying explicitly violent acts. There's plenty of nudity(..Soledad even does a striptease)and a bit of sex. I expected the film to exploit the sexual relationship of Eugénie and Albert, but Franco doesn't embellish on that sleazy aspect too much. While the film has a tendency to "globe-trot", the beauty is never more abundant than when we return to Albert's wintry abode. But, the true beauty of this film, and her countless other pictures, is Soledad Miranda. Franco's lens worships her.