Marquis de sade biography movie about henry
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This is standard procedure in Hollywood, wherein “historical” movies always seem to involve stiff-lipped British accented performers, but has little connection to reality, and even less to that of the Marquis de Sade.
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Cinematographer Richard Angst captured the 18th-century settings in West Germany and other locations, employing practical period aesthetics influenced by European co-production efficiencies.For proof just check out the numerous cinematic portrayals of the man, which are as varied as the films themselves.
The Marquis de Sade was a legendary libertine, as enumerated in the many biographies that have appeared over the years (my own favorite being the unique fictional-historical hybrid SATAN’S SAINT by WEREWOLF OF PARIS author Guy Endore).
The film could have done with a bit more naughtiness, as all we really get in the way of sadean sexuality is a subdued bit of S&M.
In parts brave, intractable, and at times an indefensibly vile example of bourgeois decadence and cruelty, one should hesitate to look at de Sade with anything resembling admiration. Among enthusiasts of Corman's oeuvre, the film holds marginal cult appeal as a relic of late-1960s permissiveness and a failed prestige project, valued more for completists than standalone artistic merit.[30][12]
Soundtrack
Musical Composition and Release
The score for De Sade was composed by Billy Strange, who crafted a blend of pseudo-classical orchestral passages reminiscent of the film's 18th-century milieu with dissonant 1960s psychedelic and pop elements, including echoing female vocals, prominent percussion, and leaner instrumental textures to evoke psychological tension and moral ambiguity.[31][32] Recorded by the Berlin Symphony Orchestra under Strange's own conduction, the music emphasized strings and rhythmic motifs to underscore thematic unease without relying on overt leitmotifs.[33]Strange's approach integrated modern dissonance with period evocations to heighten the film's atmospheric discord, drawing on his background as a session guitarist and arranger for fuller symphonic depth in key sequences.[34] The sessions prioritized dynamic contrasts between lush orchestration and sparse, eerie effects, aligning with the production's sound design for immersive dramatic impact.[35]The original soundtrack album, featuring select cues, was issued on vinyl by Tower Records (ST-5170), a Capitol subsidiary, in 1969, but saw no significant commercial traction beyond niche film music collectors.[36] It remained unavailable on CD for decades until Quartet Records released an expanded, complete edition (QR557) in 2024—limited to 1000 copies—with newly mixed and mastered tracks, liner notes, and previously unreleased material, confirming its status as a cult rather than mainstream release.[35][37]Tie-Ins
Novelization
The novelization of the 1969 film De Sade was authored by Henry Clement, a pseudonym employed by Edward Fenton for media tie-in works, and directly adapted from Richard Matheson's screenplay.[38] Published as a mass-market paperback by Signet Books on September 1, 1969, the 128-page volume coincided with the film's late-summer theatrical rollout to leverage promotional momentum.[38]Signet, affiliated through distribution channels with American International Pictures (AIP)—the film's primary distributor—targeted exploitation film audiences via affordable pricing and cover artwork echoing the movie's lurid posters, which emphasized Keir Dullea's portrayal of the Marquis alongside thematic motifs of libertinism and incarceration.Expanding beyond the screenplay's constraints, the novel incorporates internal monologues to delve into the protagonist's philosophical rationalizations and psychological drives, providing backstory elements omitted from the film's runtime for pacing and censorship compliance under the Motion Picture Association of America ratings system.[39] These additions amplify explicit depictions of sexual and sadistic encounters, restoring details moderated in the visual medium to evade an X rating or export restrictions in international markets.[40] Such enhancements aligned with pulp fiction conventions of the era, where novelizations often intensified taboo content to differentiate from sanitized cinematic versions.Commercially, the tie-in paralleled the film's niche performance, achieving modest circulation among horror and erotic thriller readers without achieving bestseller status, reflective of AIP's strategy for low-budget genre releases amid 1969's shifting censorship landscape post-Midnight Cowboy.[41] Fenton's background in juvenile literature under his real name underscored the ironic dissonance in adapting de Sade's libertine themes, though the pseudonym distanced the work from his primary oeuvre.[42]Historical Fidelity
Alignment with De Sade's Biography
The 1969 film De Sade aligns with historical records in its depiction of the Marquis de Sade's multiple imprisonments, including his incarceration in the Bastille from July 1784 to just before its storming in July 1789, a period during which he drafted early versions of works like The 120 Days of Sodom.[43][44] Court documents and de Sade's own correspondence from this era confirm the Bastille as a site of prolonged isolation amid lettres de cachet issued by his family and authorities, totaling over 32 years of confinement across facilities like Vincennes and Charenton.[45][46]Early life events in the film, such as influences leading to de Sade's initial legal troubles, draw from verifiable scandals beginning in 1763, shortly after his marriage, when he faced arrest for blasphemy and sodomy involving a young woman he detained overnight.[45][44] The portrayal of familial pressures and interventions mirrors records of his in-laws securing his releases through payments, as in the 1768 case of Rose Keller, whom de Sade allegedly tortured with incisions and hot wax, prompting a complaint later withdrawn after compensation of 2,400 livres.[44] Trial transcripts and de Sade's letters substantiate these patterns of libertine conduct, including procurement of prostitutes and employees for extended sexual acts at his Château de La Coste in 1774, involving six individuals held for weeks.[45][46]The film's compression of de Sade's biography from childhood in the 1740s through the French Revolution era reflects the historical span of his active scandals, military service in the Seven Years' War (1756–1763), and writings like Justine (published 1791 but conceived during imprisonment).[43][47] References to his uncle's role in early exposures align with accounts of de Sade being placed under the Abbé de Sade's tutelage around age five, contributing to formative experiences amid noble family dynamics.[45] These elements are corroborated by primary sources like de Sade's prison correspondence, which detail recurrent behaviors leading to detentions without formal charges in some instances.[44]Portrayal of Philosophy and Events
The film dramatizes the Marquis de Sade's philosophical views on absolute liberty and the primacy of pleasure through scenes of libertine excess, where characters articulate that moral constraints are artificial impositions contrary to nature's amoral dictates, allowing for the justification of violence and debauchery as expressions of unfettered will.[5] This echoes de Sade's own arguments in works like Philosophy in the Bedroom, where he posits that nature endorses vice—including crimes against persons—as essential to individual sovereignty and the rejection of repressive social norms.Nevertheless, he remains an important figure of study concerning political history, writing, sexuality, and the limits of free expression.
This list is for films based on any of the written works by de Sade (ex.,…
Libertine. In parts brave, intractable, and at times an indefensibly vile example of bourgeois decadence and cruelty, one should hesitate to look at de Sade with anything resembling admiration.
Criminal. Criminal. The film holds a 10% approval rating on Rotten Tomatoes, aggregated from nine reviews averaging 3.9 out of 10, reflecting broad consensus on its superficiality.[2]Vincent Canby, writing in The New York Times on September 26, 1969, described the picture as commencing with promise as an "ordered, theatrical hallucination" but ultimately reducing "one of the most fascinating figures of world literature" to a "not-so-straight man in a series of naughty tableaux vivants," with recurring orgies functioning akin to rote musical interludes in a musical comedy, thereby simplifying de Sade's tumultuous life into banal erotic vignettes devoid of intellectual rigor.[7]Critics highlighted structural incoherence and pretentious undertones, attributing narrative disjointedness partly to the film's troubled production involving multiple directorial hands, which manifested in muddled Freudian psychologizing and uneven pacing that undermined any ambitious intent.[26] Amid the pans, isolated commendations emerged for John Huston's portrayal of the Abbe de Sade, lending gravitas to select sequences, and for the film's lavish visual aesthetics, including opulent period sets and costuming that evoked 18th-century excess, though these were deemed insufficient to salvage the overall execution or address miscasting concerns, particularly Keir Dullea's impassive lead performance.[27][6]
Modern Reassessments
In the years following its initial release, the 1969 film De Sade has undergone reevaluation through home video editions, with the 2023 Blu-ray release by MGM prompting fresh analyses of its technical merits and thematic ambitions.Roger Corman, prolific in low-budget horror and exploitation cinema through American International Pictures (AIP), assumed primary directorial duties uncredited and oversaw much of the core footage, infusing the work with his efficient, genre-driven approach to period drama and sensationalism.[3][9][6]Reshoots were directed by Gordon Hessler, an AIP associate with experience in Gothic horror such as The Oblong Box (1969), and John Huston, the acclaimed director of classics like The Maltese Falcon (1941), who contributed select sequences including those featuring his own role in the cast; these additions aimed to salvage narrative coherence and heighten dramatic tension.
The few striking images—a masked jury decked out in red cloaks, a woman disappearing into her clothes—are deflated by the cheap production design, dime store psychology and hammy performances from Dullea and his co-stars, who include a slumming John Huston.
Late-60’s indulgence at its worst!
Jumping ahead two decades we arrive at the French made MARQUIS (1990), which is, along with MARAT/SADE, the most interesting and ambitious film of the lot.
Of course the production doesn’t go as planned, with performers periodically passing out or turning catatonic, the Marquis engaging in impromptu political discussions with his fellows and the asylum director frequently interrupting the action to scold the mischievous Sade. Cy Endfield, a British-American filmmaker known for adventure and noir pictures like Zulu (1964), is officially credited as director and handled initial filming in Europe before withdrawing from the project.
Nor are the wimpy prose excerpts presented by screenwriter Doug Wright at all convincing as Sade imaginings; the Marquis was a writer, let’s not forget, who (in JULIETTE) described a woman using a man’s plucked-out heart as a masturbation device, something the dilettante depicted here would seem incapable of conceiving.
Another thing: although it’s set in France, everyone in this film speaks in English accents.
It was also quite influential in its insane asylum setting, a facet that characterized nearly every Sade biopic that followed. Nevertheless, he remains an important figure of study concerning political history, writing, sexuality, and the limits of free expression.
This list is for films based on any of the written works by de Sade (ex., Salo), films that show a heavy direct influence from his works (ex., Nazarin), films based on his life (ex., Quills), films that feature de Sade as a character (ex., Waxwork), and films that use de Sade the historical figure as a plot device (ex., The Skull).
De Sade (film)
De Sade is a 1969 American-German drama film directed by Cy Endfield, presenting a fictionalized biography of the Marquis de Sade centered on his libertine lifestyle, sadomasochistic pursuits, and eventual imprisonment for lewd behavior.[1][2] Starring Keir Dullea as the titular marquis, with Senta Berger as Anne de Montreuil and Lilli Palmer as Madame de Montreuil, the film features John Huston as the Abbé de Sade and employs a non-linear narrative to depict de Sade's erotic experiments amid family and societal pressures.[1][3] Produced during a period of heightened interest in sexual liberation themes, it received an X rating and includes scenes of orgiastic excess, though critics noted its relative tameness relative to the subject's notoriety.[4][5] Despite its provocative premise drawn from the historical figure's infamous writings and scandals, the film garnered poor reception for narrative incoherence and lackluster execution, with contemporary reviews describing it as a shambolic effort marred by production troubles including uncredited directorial contributions.[5][6]
Synopsis
Plot Summary
The Marquis de Sade, hounded by authorities for his inflammatory writings, seeks refuge in his family's decaying ancestral mansion at La Coste, where he encounters his uncle, the Abbé de Sade, who stages theatrical reenactments of the Marquis's life to confront him with his past.[5][7] Disputing the portrayal, the Marquis recounts his youth, marked by his uncle's early indoctrination into libertine excesses involving sex and cruelty.[8][5]In flashbacks, the young Marquis agrees to marry Renée de Montreuil, daughter of a scheming mother, only to discover post-contract that she is plain and unappealing, having been drawn instead to her alluring sister Anne, whom he idealizes as embodying "true reality."[8][5] Neglecting his wife, he descends into notorious debauchery, organizing orgies with prostitutes that escalate into acts of flagellation, sodomy, and the use of aphrodisiacs like cantharides, scandalizing his family and leading to repeated arrests and imprisonments orchestrated by his in-laws.[7][8]Amid incarcerations comprising a third of his life, the Marquis fathers three legitimate children, authors psycho-sexual works such as 120 Days of Sodom, and pens plays performed at the Comédie Française; during the French Revolution, he briefly serves as a judge before further persecution.[7] Haunted by Anne's death from plague—framed as his fault—the narrative culminates in his elderly confinement, fixated on elusive philosophical "moments of reality" amid unrelenting obsession and defiance.[8][5]Production
Development and Pre-Production
In the late 1960s, American International Pictures (AIP), known for low-budget exploitation films, sought to elevate its output with more ambitious projects, commissioning De Sade as a biographical period drama on the Marquis de Sade's life to capitalize on the era's fascination with libertine philosophy amid the sexual revolution.[9] The initial screenplay was penned by Richard Landau, drawing from historical biographies and de Sade's own writings to frame a fictionalized account of his erotic excesses and philosophical pursuits.[10]Cy Endfield was attached as director for this German-American co-production, with planning focused on recreating 18th-century France through European locations and sets, including facilities at Bavaria Studios and CCC-Atelier in Germany.[11]Pre-production emphasized assembling an international crew to handle the period authenticity, though challenges arose in aligning creative visions with AIP's cost-conscious approach, influenced by Roger Corman's successful Edgar Allan Poe adaptations that blended horror with literary prestige.[12]Endfield departed early due to disagreements with producers, reportedly over elements like the musical score, prompting AIP to recruit Corman to oversee completion and enforce budgetary efficiencies without compromising the intended lavish scope.[12][13]Richard Matheson was brought in to revise Landau's script, basing revisions on Gilbert Lely's biography The Marquis de Sade for a more structured narrative of de Sade's scandals and incarcerations.[9] This shift reflected AIP's pragmatic adaptation of high-concept literary biopics to commercial realities, prioritizing psychological depth over explicit sensationalism.Filming and Directorial Issues
Principal photography for De Sade occurred in 1968 primarily at Bavaria Studios in Grünwald, Bavaria, Germany, and CCC-Atelier in Spandau, Berlin, where interior sets were constructed to replicate 18th-century French aristocratic environments and period-specific decadence.[14] These studio facilities in West Germany facilitated controlled recreations of lavish mansions and intimate chambers central to the Marquis de Sade's libertine exploits, though exterior shots incorporated additional European locales for atmospheric breadth.[11]The production faced acute directorial instability, beginning with Cy Endfield's nominal assignment but marked by his early exit amid creative clashes or disinterest, prompting Roger Corman to direct the bulk of the footage uncredited to salvage the project.[5] Gordon Hessler contributed to select sequences, adding layers to the fragmented oversight that undermined narrative cohesion.[11] This revolving leadership, compounded by mid-production script revisions that altered Richard Matheson's original structure, fostered improvisational deviations by actors and tonal shifts between biographical fidelity and American International Pictures' exploitative imperatives.[5]Scheduling pressures exacerbated these issues, leading to visible inconsistencies in pacing and visual style—such as abrupt transitions between hallucinatory erotica and historical reenactments—despite reliance on practical set designs and costuming for authenticity rather than extensive post-production fixes.[5] The film's attempt to juxtapose Sade's philosophical sadism with lurid spectacle clashed under divided directorial visions, yielding a disjointed final cut that prioritized salacious vignettes over seamless storytelling.[11]Budget and Technical Aspects
American International Pictures (AIP) invested $1.2 million in De Sade, a substantial sum for the studio's standards in 1969, which generally focused on economical B-movies, with the intent to elevate the project toward prestige cinema through expanded production values.[15][9]Cinematography, primarily by Richard Angst with uncredited contributions from Heinz Pehlke, was captured on 35mm film using spherical lenses in a 1.85:1 aspect ratio and Pathécolor processing, emphasizing visual framing for the film's historical and dramatic sequences.[9][8] Art direction by Jürgen Kiebach utilized practical sets constructed in Germany to recreate 18th-century French environments, prioritizing tangible locations and props over emerging visual effects techniques limited by the era's technology.[8][1]Editing duties fell to Max Benedict and Hermann Haller, whose work addressed the assembly of footage into a 104-minute runtime, though the resulting structure has been characterized as fragmented in structure due to post-production adjustments.[8] The soundtrack featured an original score by Billy Strange, incorporating orchestral arrangements to underscore the narrative's themes, mixed in stereo for theatrical presentation.[8][16]Cast and Crew
Principal Cast
Keir Dullea portrayed Louis Alphonse Donatien, the Marquis de Sade, in the lead role, drawing on his recent prominence from 2001: A Space Odyssey to depict the aristocrat's philosophical and hedonistic pursuits, though some contemporary observers noted his restrained demeanor as ill-suited to the character's reputed ferocity.[3][2]John Huston appeared as the Abbé de Sade, the marquis's libertine uncle whose influence shapes early worldview, leveraging Huston's established gravitas in authoritative roles to underscore familial and ecclesiastical tensions.[17][1]Senta Berger played Anne de Montreuil, a figure entangled in the marquis's social and romantic entanglements, contributing to the film's blend of American leads with European supporting talent for broader market appeal under American International Pictures' production strategy.[3]Lilli Palmer embodied Madame de Montreuil, representing institutional opposition within the family dynamic, while Anna Massey took the role of Renée de Montreuil, highlighting interpersonal conflicts amid the era's moral strictures.[18] This multinational casting, including British and German actors alongside U.S.stars, reflected efforts to secure international distribution and financing for the period drama.[1]
Key Crew Members
The direction of De Sade involved multiple contributors amid production challenges, reflecting the film's turbulent execution. It’s far from great, but at least boasts solid performances from Geoffrey Rush as MdS and Kate Winslet (whose post-TITANIC clout reportedly got the film made) as the servant who smuggled Sade’s writings out of the Charenton asylum where he spent his final years.Composer Billy Strange provided the score, blending orchestral elements with thematic motifs to underscore the film's decadent tone, while editors Hermann Haller and Max Benedict (for the U.S. version) shaped the fragmented footage into a cohesive release. The direction by the sometimes-great Philip Kaufman is by turns deep and playful, but usually always compelling.
Yet Kaufman is a filmmaker who came of age in the 1960s, which would seem to explain why QUILLS’ Sade is so Timothy Leary-esque.