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Fantasy and reality are never clearly distinguished. On occasion, we return to the overall framing sequence — De Sade watching drunk teen his drunk teen life as theater — during which De Sade and his uncle engage in philosophical debate. De Sade: "You made me what I am." Uncle: "I thought 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 drunk teen 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 return to the film's opening image of the younger De 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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