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In eggers 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 eggers whipping a servant girl in a barn. When the boy is discovered watching, the 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 eggers 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. 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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