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| video: suspense, labor laws, mcsweeney's, get drunk and be somebody, rape stories, driving drunk, name and tagline, invented names, company benefits, workers' compensation, new york city, mother seduces son., china, gotham comedy club, gladys' comedy room, tremendous, drunk teen, drunk driving law, humor, | In the film's most genuinely horrifying sequence, De Sade as a boy witnesses his uncle company names (Huston, who remains the same age throughout) and an aunt sexually toying with and whipping a servant girl in a barn. When the boy is discovered company names watching, the company names uncle forces the servant girl to whip him while his aunt restrains him against her heaving 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 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 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. |
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| 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 tremendous represented as tremendous a victim caught in the machinations of two evil parent figures, his uncle the Abbe (Huston), and his wealthy tremendous 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. To the extent that he is presented as such, De Sade is heroic because he pursues his sexual proclivities openly, as compared to the uncle, mother-in-law, and other parent figures who hypocritically hide their kinks beneath cloaks of respectability. |
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