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| college drunk girl picture, media, andrewmother fucking hutchins, teachers, teen rape, news, drunkdriving, pissed at, comedy clubs, ha ha, great names, ascii art, rape rays, discussion board, new york city, drunk teen, company, pornxxx, erin go bragh, brand positioning, magazine, stand up ny, drunk moms, college drunk girl, | Although De Sade’s screenplay is credited to Richard Matheson — who wrote most of Corman's Poe films — the fantasy flashback structure clearly derives from The Trip, which Matheson had no involvement in. drunk guys 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 drunk guys orgy sequences show lots drunk guys 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 college drunk girl the fairy tale-like image of an old woman gathering sticks in the woods. Then, as in the openings of so many of Corman's Poe college drunk girl films, we see a man on horseback approaching what appears to be a deserted castle or chateau. college drunk girl 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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