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old mature sluts , mature gay porn , mature big tits movies , mature ladies porno , jessica, name development, my mother is fucking , erotic mature moms , granny tits , college drunk girl picture, mature amateur galleries , mature ladies pics , mother daughter fucking , literature, mother fucking knees , video, crapstravaganza, mature mom porn , xxx milf video , mature vs young porn , mature sex movies , mature senior pussy , mature blowjob galleries , De Sade: "You made me what I am." Uncle: "I thought mature large tits you believed that mankind was evil by nature." De Sade: "You seduced me." Uncle: "No, I initiated you." The life-as-theater framing sequence is in turn framed by a sequence in which an aged De Sade lies dying on a bed in a convent somewhere presided over by Mother Superior Barboura Morris (another Corman regular). As he closes his eyes, we mature large tits return to the film's opening image of the younger De mature large tits Sade approaching the ruined chateau. As in so many Corman films (e.g., Not of This Earth), the end returns us to the beginning. The music by "Billy Strange" sounds an awful lot like it was composed by Les Baxter — who scored most of Corman's Poe films. Richard Angst, on the other hand, turns out to have been a real German cinematographer who worked with, among many others, Fritz Lang.
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When the boy is discovered watching, the uncle forces the servant girl to whip him while his aunt restrains him against her heaving mature gay porn bosom. This flashback is intercut with its "present day" representation as theater during which De Sade, now in costume as his uncle, gleefully whips a straw mannequin mature gay porn representing himself as a boy. The most remarkable thing about the film is its avant-garde Trip-like technique. In prison (at the behest of his mother-in-law), De Sade peers through a porthole and observes his uncle seducing the woman mature gay porn of his dreams in some other place and time. The story, such as it is, moves forward through associative montage rather than linear narrative progression. Fantasy and reality are never clearly distinguished. On occasion, we return to the overall framing sequence — De Sade watching his life as theater — during which De Sade and his uncle engage in philosophical debate.
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