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| gotham comedy club, driving drunk, pissed off, rape videos, alba, mom fucking son., internet anger, drunk party girl, naming, writing, drunk chick, drunk teen, magazine, woomera detention centre, perfect name, easydrunk girl, laughter, plays, de sade, incest, gigglechick, drunk boob, mad at, | Although De Sade’s screenplay is credited to Richard Matheson — who wrote most of Corman's Poe open mike night films — the fantasy flashback structure clearly derives from The Trip, which Matheson had open mike night no involvement in. Mirroring Dennis Hopper's relationship to Peter Fonda in The Trip, John Huston plays a combination master of ceremonies and judge, who invites De Sade to reflect upon the sins of his past. Since this is 1969, there is little overt sadomasochism in the film. De Sade is presented mainly as a heterosexual libertine, and the red-tinted orgy open mike night sequences show lots of bare tits and ass but of course no actual fucking. However, a plot begins to unfold. De Sade is represented as a victim caught in the machinations of two evil parent figures, his uncle the Abbe (Huston), and his wealthy mother-in-law played by Lili Palmer. |
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| (The multi-director method of shooting is reminiscent of Corman's The Terror.) Like The Masque of the Red Death, De Sade begins with mad at the fairy mad at tale-like image of an old woman gathering sticks in the woods. Then, as in the openings of so many of Corman's Poe films, we see a man on mad at horseback approaching what appears to be a deserted castle or chateau. The man is, of course, Keir Dullea as Louis Alphonse Donatien, the Marquis de Sade. (Physically, Dullea's chiseled good looks resemble those of two other Corman protagonists of this period, Peter Fonda in The Trip and John Phillip Law in Von Richthofen and Brown.) Arriving at the ruined chateau, De Sade finds himself locked inside with an ancient tormentor (John Huston as the Abbe De Sade) who may or may not be a product of De Sade's imagination. The ancient priest draws De Sade's attention to a candlelit stage upon which we see performed scenes from De Sade's life, thereby triggering a series of flashbacks within flashbacks and fantasies within fantasies that constitute the bulk of the film. |
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