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Wicked Memoirs of Eugenie (1980)

Eugenie (Historia de una perversión) (original title)
Eugenie is the capricious daughter of a rich diplomat, living in a seaside resort in Spain. She exhibits her young and splendid body in the beach and night-clubs. She feels an incredible ... See full summary »

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Cast

Cast overview:
Katja Bienert ...
Eugenie Tanner
Mabel Escaño ...
Alba de Rosa
...
Alberto de Rosa (as Robert Foster)
...
Sultana (as Candy Coster)
Antonio Rebollo ...
Erwin Tanner (as Tony Squios)
Melo Costa ...
Walter
María del Carmen González
Consuelo Tejera
Patricia Quow
María Encarna Tejera
Maria Luisa Sancho
Antonio Ross ...
(as Antonio Ros)
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Storyline

Eugenie is the capricious daughter of a rich diplomat, living in a seaside resort in Spain. She exhibits her young and splendid body in the beach and night-clubs. She feels an incredible adoration for her father who returns his daughter's passion. Franco impressively delivers themes of eroticism, violence, sadism and nihilism. Written by Artemis-9

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Drama

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20 February 1981 (Spain)  »

Also Known As:

Wicked Memoirs of Eugenie  »

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(Eastmancolor)

Aspect Ratio:

1.66 : 1
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User Reviews

Catalan Kink from the Genre's Grand Master
27 September 2007 | by See all my reviews

Jess Franco's umpteenth return to Sade – in this case, more specifically his "Philosophy of the Boudoir" – just might be his finest hour as a filmmaker whose '60s and '70s output has been increasingly and rightfully redeemed since its initial scathing reception. On this occasion, he managed to strike a near perfect balance between the sensual and the shocking, helped in no small part to Juan Soler's exquisite camera work. German sex starlet and subsequent TV personality Katja Bienert was barely 18 when she was cast in the perpetually unclad lead as Eugenie, spoiled brat offspring of incestuously inclined diplomat Erwin Tanner, played by Tony Squios. Their unhealthy if unconsummated relationship is eloquently mirrored in that of decadent Alba and Alberto De Rosa (Spanish sleaze veterans Mabel Escano and Antonio Mayans), an aristocratic pair of siblings who have clearly taken their mutual attraction several steps further already. An oppressively claustrophobic mood permeates the movie once Eugenie and dear old dad are lured into the forbidden world of their newfound "friends". A violent yet impeccably stylish climax seems like Franco's attempt to imitate Peckinpah, the result coming off as far less embarrassing than you would imagine. Still, the film's most memorable image remains that of the huge sand sculptures representing the human form in the opening sequence, a monument perhaps to the De Rosa's past victims, eternally frozen in the positions they died in.


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