EUGENIE...THE
STORY OF HER JOURNEY INTO PERVERSION(1969)
Director: Jess Franco
Blue Underground
EUGENIE...THE
STORY OF HER JOURNEY INTO PERVERSIONViewing Jess Franco's EUGENIE
(1969) is an experience like no other. In the first place, if your preconceived
notions of Franco's filmmaking abilities write him off as a hack, erase those
thoughts from your mind. The film is essentially one stunning visual tableau
after another, accompanied by a story that will leave even the most jaded viewer
devastated by the closing credits. Following a brief US release, EUGENIE was
lost to the ages, one of the only Franco films to never appear on the
grey market circuit. Thankfully it has emerged remastered, uncut, and ready
to be appreciated by an entire new generation by Blue Underground.
Eugenie (Marie Liljedahl of INGA)
is a sprightly young teenager who becomes the pawn in a vicious game of sexual
kicks and sadistic pleasures. Her father (Franco regular Paul Mueller) is entranced
by the elegant Marianne Saint-Ange (Maria Rohm in her definitive performance),
who agrees to sleep with him on the condition that Eugenie spend the weekend
at her private island mansion. Inviting her awkward stepbrother Mirvel (Jack
Taylor) for the weekend, the two sexually charged half-siblings (a situation
that bears a striking resemblance to that of the recent CRUEL INTENTIONS) devise
a plot to stain the virgin-white reputation of young Eugenie, who by the conclusion
of the film is a physically and mentally twisted woman. Watching EUGENIE isn't
an easy sitting. Liljedahl still looks the part of a teenager, a mere 2 years
after INGA, and the film is essentially the making and breaking of a girl, not
a very pleasant thing to endure for 90 minutes. Squirming in your seat 
wouldn't
be an uncommon occurrence during the duration of the film. And if you see the
five (!) plot twists and endings coming, you deserve a medal. Based on the Marquis
de Sade's "Philosophy in the Boudoir", Franco's EUGENIE manages to
remain faithful to the original author's writings, in both aura and incident.
If De Sade were alive today, I have a feeling he would approve of Franco's adaptation.
EUGENIE is quite possibly Franco's
masterpiece. The director himself says this is the one of his films that he
hates the least, and it's not hard to see why. Other than several out-of-focus
shots, it is a technical marvel. Franco's usual stationary photography is given
a generous boost via the use of dolly and crane shots, and the scope framing
is expertly framed. In addition to its technical 
brilliance,
EUGENIE is made all the more intoxicating by its cast. The star, Marie Liljedahl,
isn't as naturally convincing as she was in her debut film, INGA (a personal
favorite), but is still capable of conveying the transformation from innocent
to sadist. The scenes of her running nude over the deserted island are particularly
striking and well-acted. Maria Rohm proves she was more than producer Harry
Alan Towers' girlfriend. She was a true blue actress, and she gives her all
in the performance of her career. Jack Taylor has always delivered in his films,
regardless of how unbelievable the storyline is or how shallow his character
is. Truthfully one of the underrated actors of the Eurocult genre. Christopher
Lee, despite appearing for a fleeting few minutes, is a suitable menace. And
look quick for Herbert Fux (MARK OF THE DEVIL) as one of Marianne's "guests".
When you're not admiring the look, feel, and performances of the film, you will
be grooving to the outstanding musical score by underrated composer Bruno Nicolai.
Whether it be the lilting female vocals of the opening theme to the choppy harpsichord-driven
sadism theme to the jazzy revelation theme near the close of the film, Nicolai's
score was briefly released on CD and should be more readily available.
Elements
of EUGENIE will seem familiar to those who view Franco regularly, especially
present in his later VAMPYROS LESBOS. The drugged wine and subsequent sexual
escapades were later echoed successfully and the deserted island locale recalls
several similar sequences at Countess Nadine's seaside villa. And doesn't Maria
Rohm, adorned in her flowing black cape, mirror the image of Soledad Miranda
in an identical costume? Not only does Franco's film recall images from his
own films, there are sequences that are better associated with other directors
and genres. The red tinted finale is straight out of a Bava film; the island
cemetery brings to mind a spaghetti western; the arrival of Marianne's guests
on the island strangely feels like a Rollin film; shots of the desert island
reminded me of WALKABOUT. What these scene resemble is really rather unimportant;
as a whole, they combine to create one of the strangest and most rewarding Franco
films you're likely to see.
After reviving three American cult classics with their premiere discs (SHOCK WAVES, THE PROWLER, THE TOOLBOX MURDERS), Blue Underground has delivered an even better platter this time around. Since home video releases of this title have been sparse or nonexistent, it's hard to compare different versions. But the film appears to be uncut, is letterboxed correctly at 2.35:1, and looks superb. The color scheme of this film is a thing of wonder, and BU's transfer does the film justice. Detail is sharp except in the out-of-focus shots (the original cameraman's fault). The sound is exemplary. Dialogue is a little quiet at times, but for the most part is the perfect volume and Nicolai's score plays full-blast at all the right moments. The English track is accompanied by a French audio track with no subtitles, which is nice, but it would be an even better addition if subtitles were included. Since the film was shot in English, it is doubtful wether there are any variances in dialogue. It does make the film sound ten times sexier.
The
disc comes in a nice package. Tear yourself from the perfect cover art and hurry,
finish reading Tim Lucas' great liner notes! "Perversion Stories"
is a 17-minute featurette discussing the influence behind the film (the success
of JUSTINE) and behind-the-scenes stories from Jess Franco, Harry Alan Towers
(very briefly), Marie Liljedahl, and Christopher Lee. Alas, no Maria Rohm, which
is strange considering she is still married to Towers. Ah well. Franco does
the most talking of the four, in French with English subtitles. He discusses
Jerry Gross' disapproval of the film (not enough male penises!), the casting
of the film, and the film's locations. Towers mentions the decision to cast
Liljedahl and Lee, but doesn't appear to talk about much else. Liljedahl (who
had only previously contributed an audio interview for the INGA disc) appears
on-camera for the first time in over 30 years, and despite being a bit heavier,
she still has those lovely eyes and lips. Speaking in English, she talks about
her dedication to the film and on-set relations with Franco, Rohm, and Lee.
Lee doesn't have much screentime, but does mention how he became involved with
the project, his two days on the set, and his surprise at seeing his name top-billed
on an adult cinema marquee!! It's a great featurette, and Franco is much more
lively than he was in any of his other DVD appearances, probably due to the
fact that he can speak in a language he's comfortable with. In addition to the
featurette, there is an excellent theatrical trailer and a quite extensive stills
gallery, featuring stills and posters from the various international releases,
behind-the-scenes photos, the American pressbook, the German pressbook, the
original soundtrack LP (which just sold for over $50 on eBay!), photos of theater
marquees playing the film, German lobby cards under the title DIE JUNGFRAU UND
DIE PEITSCHE (translation: The Virgin and the Whip), There are at least half
a dozen eras in the filmography of Jess Franco. Most viewers are familiar with
his Soledad Miranda stage, his Lina Romay period, and his Eurocine films. Blue
Underground's disc is a perfect introduction to his Harry Alan Towers films,
a series of productions which featured incredible casts, lavish budgets, and
advanced technical prowess. EUGENIE will not only please Francophiles, those
who despise the man's films will find much to love here. It's a film you'll
want to share with others just to talk about, and every single person who frequents
Eurocult, sex, cult, or Franco films must seek out this disc. One of the best
discs of the year. (Casey
Scott)