"Eugenie" is a scandalous story from the Marquis de Sade about a naive young girl who is sold by her father into the servitude of a married pair of depraved libertines who proceed to seduce and debauch her. Not surprisingly, it has not received a lot cinematic treatment (and could probably not even be made these days). Even the incredibly prolific and repetitive Jesus Franco only made two versions of the story, this and one in the early 80's called "Erotismo" ("Eugenie de Sade", made a year later with Soledad Miranda, is also based on a De Sade story, but is about a very different character also named Eugenie).
This is no doubt the better version. It was made at a time when Franco had access to plenty of a money through producer Harry Allen Towers and quality international stars, not only Maria Rohm and Jack Taylor as the libertine couple, but even Christopher Lee (who apparently had no idea what he was getting into) as the leader of the strange sex cult the pair belong to. As the title character Eugenie, Swedish actress Marie "Inga" Lillejahl is a typical Franco actress of the period--not as talented as some Franco collaborators like Soledad Miranda or Rosalba Neri, but very beautiful and classy unlike many of his later actresses (including his wife Lina Romay, who beautiful as she was, had a bad tendency of indulging the director in his most tasteless cinematic fantasies). Lillejahl, I might also add, was older than the character she played, and it turns out it's much better to cast a twenty year old as a fourteen year in a fairly explicit role than an actual fourteen year old as he did in "Erotismo" (Katja Beinert, who ironically could have easily passed for twenty), not only for moral reasons but also artistic ones--just as a drunk is best played by someone who is not actually drunk, a naive innocent is most effectively played by someone who is NOT actually a naive innocent.
The beautiful, dream-like style of the movie also does a lot to mitigate the inherent sleaziness of the subject matter. The scenes of Lillejahl stumbling naked along barren sand dunes with lots of phallic jutting rocks as the morning sun comes up are very memorable (even if they don't make a lot of sense). The repetitive opening and closing sequences Franco uses is a hoary device that goes all the way back to the British classic "Dead of Night", but it is quite effective and really adds to the dream-like atmosphere. One of the "good" Franco movies.
This is no doubt the better version. It was made at a time when Franco had access to plenty of a money through producer Harry Allen Towers and quality international stars, not only Maria Rohm and Jack Taylor as the libertine couple, but even Christopher Lee (who apparently had no idea what he was getting into) as the leader of the strange sex cult the pair belong to. As the title character Eugenie, Swedish actress Marie "Inga" Lillejahl is a typical Franco actress of the period--not as talented as some Franco collaborators like Soledad Miranda or Rosalba Neri, but very beautiful and classy unlike many of his later actresses (including his wife Lina Romay, who beautiful as she was, had a bad tendency of indulging the director in his most tasteless cinematic fantasies). Lillejahl, I might also add, was older than the character she played, and it turns out it's much better to cast a twenty year old as a fourteen year in a fairly explicit role than an actual fourteen year old as he did in "Erotismo" (Katja Beinert, who ironically could have easily passed for twenty), not only for moral reasons but also artistic ones--just as a drunk is best played by someone who is not actually drunk, a naive innocent is most effectively played by someone who is NOT actually a naive innocent.
The beautiful, dream-like style of the movie also does a lot to mitigate the inherent sleaziness of the subject matter. The scenes of Lillejahl stumbling naked along barren sand dunes with lots of phallic jutting rocks as the morning sun comes up are very memorable (even if they don't make a lot of sense). The repetitive opening and closing sequences Franco uses is a hoary device that goes all the way back to the British classic "Dead of Night", but it is quite effective and really adds to the dream-like atmosphere. One of the "good" Franco movies.