Stream Marquis de Sade’s Justine Movie Online
Lundi, septembre 6th, 2010 |
Stream Marquis de Sade’s Justine Movie Online.
Movie Title: Marquis de Sade’s Justine Marquis de Sade’s Justine is available for streaming or downloading. |
Jesus “Jess” Franco is a director that’s sort of a secret amongst serious scare film fans. If you’re the type of casual fan of the genre who thinks that “Friday the 13th,” “Halloween,” and “A Nightmare on Elm Street” are the best films the dread industry ever made, you have never heard of Jess Franco. If you reflect the “Leprechaun” franchise constitutes the apogee of the alarm genre, you have never heard of Jess Franco. If you reflect collecting Wes Craven and John Carpenter films are as far as you need to go to balance out your DVD collection, you have never heard of Jess Franco. I don’t mean to give the impression that Franco is the best directorial talent ever seen in the field, because he definitely isn’t, but I have found that knowledge about some of this man’s films is one of the best ways to distinguish the novices from the veterans. His most highly regarded–at least in some quarters–film remains “Vampyros Lesbos,” a piquant steal on the age-old vampire record. Then there is Franco’s capture on the Marquis de Sade’s Justine, which doesn’t exactly classify as a apprehension film as noteworthy as it does your typical Eurosleaze trash. Read on…
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“Justine” (let’s unbiased call it that instead of putting de Sade’s name in front of it; I’m feeling sluggish tonight) stars Romina Power as the titular character, a young, naïve waif cast out into the decadent world of 18th century France. It all starts when Justine and her dissolute sister Juliette (Maria Rohm) must fend for themselves after being thrown out of an orphanage. The two head straight for Paris and a local harridan hotel where Juliette fits proper in as the main attraction. Justine doesn’t beget the crop, however, and heads out into the world to score her believe niche. What follows is a series of slightly bawdy and often listless romps lively all levels of French society. Justine first obtains employment at a petite inn thanks to the grizzled owner Du Harpin (Akim Tamiroff!) only to net herself abet on the street after rebuffing the overtures of a seedy nobleman. She then ends up in prison where she meets a tough, streetwise goon by the name of Madame Dusbois (Mercedes McCambridge!!) who has a date with the executioner she’s planning on skipping. In between the woman’s enormously hammy cackling, we learn that she needs Justine’s benefit to hurry her fate. They net away, and Justine falls in briefly with Dusbois’s gang of unpleasant French thugs.
All is not lost, however, as Justine manages to rush from these vagabonds only to plunge into a depraved dwelling consuming the Marquise de Bressac (Slyva Koseina) and her reliable for nothing hubby. A destroy spot and a lot of inherited wealth leads to a place in which Justine decides to do the “apt” thing by spilling the beans to the clueless Marquise. Oops. Hubby level-headed gets what he wants but learns in the process that Justine’s great mouth might have ruined his plans. Result? A tremendous ‘M’ (for murderess) branded on Justine’s chest in what is probably the film’s best sleazy scene. What follows is rather tame by comparison, although I should mention none other than Jack Palance shows up as Antonin, the head loony of some crazed sect of debauched nut jobs. The film screeches to a end as Justine, her morality in tatters and on her last leg emotionally and physically, somehow manages to earn a personal savior who could care less about her soiled reputation. At least I reflect that’s what happened. Oh, I almost forgot: none other than Klaus Kinski turns up as the Marquis de Sade himself, but doesn’t do considerable except high-tail about in a prison cell and write down Justine’s various adventures.
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“Justine” is one of Franco’s better efforts even though it ultimately disappoints in the sleaze department. The budget is bigger, the stars are recognizable and surprising to peep in a Jess Franco film, and the musical come by sounds unbelievable. What went irascible? A lot. Considering the Marquis de Sade is one of history’s most lecherous individuals, the movie is strictly for the milk and cookies crowd. Positive, a few whippings and some gratuitous nudity pop up from time to time, but such scenes are generally uninspired and tame compared to the stuff you’ll experience in the Marquis’s writings. Even more alarming are the performances. Akim Tamiroff in a Jess Franco film? Wow! Quite a fall from “Touch of Spoiled” to this, wouldn’t you say? Mercedes McCambridge also should have known better; she’s dreadful and grating in her portion. As for Jack Palance, well, if you’ve seen “The Shape of Things to Approach” you have a friendly conception of how far Jackie will go to prop up his faltering career. He lurches and screeches through his fragment jacked up on wine (according to the interview with Franco on the disc) and generally embarrasses himself at every opportunity. Calm, despite all its flaws, I liked “Justine” for the mere fact that it’s a quite watchable abominable movie. I savor poor movies.
Extras on the disc include the aforementioned interview with Franco, one of the better ones I’ve seen, in which he discusses working with Kinski (they got along) to dealing with Palance’s penchant for drink to his vulgar detest of Romina Power. A trailer, poster and unruffled galleries, and a Franco bio also glean their procedure into the supplements fraction. If you’re looking for a truly disturbing and sleazy cinematic adaptation of de Sade, I recommend Pasolini’s “Salo.” Those looking for a gigglefest and de Sade lite would do well to give this one a straggle.
This memoir, like Eugenie, Her Inch Into Perversion, isn’t awful, and fairly explicit, for the slow 60’s, but is aloof pleasing tame, by today’s standards. Has a uncommon appearance by Jack Palance, as a wrathful monk, or something. Also, a runt appearance by the leisurely Klaus Kinski. Microscopic nudity and sex, but hey, what can one expect-it’s fairly coarse budget. There are interviews and other features for the “technically” minded. Worth a spy, but not worth the note I paid for it, or the other one-Eugenie. Minimal relation to the works of De Sade; which they, both, are supposed to be based on.
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