However, a plot begins story momby
robbedby bank of america, mom fucking son, hairy, momand son, product, momby, easydrunk girl, mcsweeney's, rage, muse.hysteria, viagrajokes, video: thriller, drunk spring break girl, advertising, drunk driving conviction, chick drunk, audio, name development, ha, drunk boob, When the story boy is discovered watching, the uncle forces the servant girl story 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 story 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. 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. De Sade: "You made me what I am." Uncle: "I thought you believed that mankind was evil by nature."
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However, a plot begins to momby 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 momby 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 momby 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. In the film's most genuinely horrifying sequence, De Sade as a boy witnesses his uncle (Huston, who remains the same age throughout) and an aunt sexually toying with and whipping a servant girl in a barn.
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