Then, as in the teachers son

de sade, son, drunk pee, ha ha, killing the buddha, competitive name analysis, drunk college party pic, drunk party girl, daughters, naming consultants, islam, mom and son sex, mom son sex, writing, drunklesbian, advertisements, writer, muse.hysteria, hullabaloo, overtime pay, drunk teen porn, drunk driving law, angry, daughter, Although De Sade’s screenplay is credited to Richard Matheson — who wrote most of Corman's Poe films — the fantasy teachers flashback structure clearly derives from The Trip, which Matheson had no involvement in. Mirroring Dennis Hopper's relationship to Peter Fonda in The Trip, John Huston plays a combination master of ceremonies and teachers judge, who invites De Sade to teachers 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 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. Palmer's character forces De Sade into an arranged marriage with the plain but affecting Anna Massey. In the meantime, De Sade becomes obsessed with Massey's sister (Senta Berger), an "anima" figure whom he pursues throughout the film — just as Peter Fonda pursued Salli Sachse throughout the hallucinations of The Trip.
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Then, as in the openings of so many of Corman's son Poe films, we see a man on 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 son in Von Richthofen and Brown.) Arriving at the ruined chateau, De Sade son 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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