De Sade 70 is a 1969 film directed by Jesús Franco, also known by the titles Philosophy in the Boudoir or Eugenie… the Story of Her Journey into Perversion. This film work represents a free modern interpretation of the Marquis de Sade’s famous novel, “Philosophy in the Boudoir.”
After the success of Marquis de Sade: Justine, producer Harry Alan Towers commissioned Jesús Franco to make a second adaptation of de Sade’s works. Unlike its predecessor, this film is conceived as a low-budget production set in modern times. Shot on the Spanish coast, the film skillfully takes advantage of natural locations, resulting aesthetically appreciated by critics despite its limited budget. However, it has problematic distribution, especially in Britain, and remained virtually invisible until its DVD release in 2002. The reason for this lack of visibility may be related to Christopher Lee, who appears briefly in the film without being fully aware of its nature. When he discovers that his name is associated with an erotic film, the actor probably acts to limit its distribution.
Madame de Saint-Ange (Maria Rohm) invites young Eugénie (Marie Liljedahl) to her private island. Here Eugénie is subjected to three sadistic-erotic initiation rites, culminating in the apparent killing of Madame de Saint-Ange.
In the fourth minute of the film, Maria Rohm is lying in bed and reading a book. The woman is wearing only a transparent black blouse. When she gets out of bed we admire her naked body under the fabric. Shortly afterwards the phone rings. Maria answers it and lies back in bed while talking. In the 12th minute, a man behind Maria’s back undresses her and kisses her. A moment later the two are having sex on the bed. In the sixteenth minute, the actress is lying on a wicker chair on the terrace. She is wearing a pair of pantyhose without underwear. In the twenty-fifth minute the beautiful Swedish actress Marie Liljedahl is totally naked in the bathtub. Maria Rohm, also naked, kneels beside the tub and helps Marie wash. After the bath Marie lies down on an artificial lawn next to the tub and Maria massages her with oil, then they kiss passionately. In the thirty-seventh minute Marie Liljedahl is lying in bed in a room lit by a red light. Maria Rohm removes her clothes, then goes to sit on a wicker chair. A man approaches Marie and begins to have sex with her. Marie watches, then joins the two. In the fifty-third minute there is another threesome, this time on the couch. In the next scene Marie Liljedahl is sitting on the couch with her breasts exposed. Maria and a man whip her in a BDSM practice. In the 62nd minute we witness a brief nudity of Marie in front of the mirror. In the seventy-fourth minute, Marie Rohm is lying on the floor of a red-lit room. Around her, Marie Liljedahl and other men and women undress her and touch her. Two minutes later Marie is alone in the room, stands up, leaves the house, and runs naked to the beach.
After the success of Marquis de Sade: Justine, producer Harry Alan Towers commissioned Jesús Franco to make a second adaptation of de Sade’s works. Unlike its predecessor, this film is conceived as a low-budget production set in modern times. Shot on the Spanish coast, the film skillfully takes advantage of natural locations, resulting aesthetically appreciated by critics despite its limited budget. However, it has problematic distribution, especially in Britain, and remained virtually invisible until its DVD release in 2002. The reason for this lack of visibility may be related to Christopher Lee, who appears briefly in the film without being fully aware of its nature. When he discovers that his name is associated with an erotic film, the actor probably acts to limit its distribution.
Madame de Saint-Ange (Maria Rohm) invites young Eugénie (Marie Liljedahl) to her private island. Here Eugénie is subjected to three sadistic-erotic initiation rites, culminating in the apparent killing of Madame de Saint-Ange.
In the fourth minute of the film, Maria Rohm is lying in bed and reading a book. The woman is wearing only a transparent black blouse. When she gets out of bed we admire her naked body under the fabric. Shortly afterwards the phone rings. Maria answers it and lies back in bed while talking. In the 12th minute, a man behind Maria’s back undresses her and kisses her. A moment later the two are having sex on the bed. In the sixteenth minute, the actress is lying on a wicker chair on the terrace. She is wearing a pair of pantyhose without underwear. In the twenty-fifth minute the beautiful Swedish actress Marie Liljedahl is totally naked in the bathtub. Maria Rohm, also naked, kneels beside the tub and helps Marie wash. After the bath Marie lies down on an artificial lawn next to the tub and Maria massages her with oil, then they kiss passionately. In the thirty-seventh minute Marie Liljedahl is lying in bed in a room lit by a red light. Maria Rohm removes her clothes, then goes to sit on a wicker chair. A man approaches Marie and begins to have sex with her. Marie watches, then joins the two. In the fifty-third minute there is another threesome, this time on the couch. In the next scene Marie Liljedahl is sitting on the couch with her breasts exposed. Maria and a man whip her in a BDSM practice. In the 62nd minute we witness a brief nudity of Marie in front of the mirror. In the seventy-fourth minute, Marie Rohm is lying on the floor of a red-lit room. Around her, Marie Liljedahl and other men and women undress her and touch her. Two minutes later Marie is alone in the room, stands up, leaves the house, and runs naked to the beach.
