THE MARQUIS DE SADE'S JUSTINE

A dream of death and desire Justine (not to be confused with Jess Franco's version) is based on the writings and revolutionary sexual philosophy of the infamous Marquis de Sade. Directed by Chris Boger, this scandalous interpretation of temptation and obsession is a faithful rendering of De Sade's pet themes, particularly emphasizing the inherent if amoral right of the strong to enjoy the submission of the weak and the troubling damnation of virtue in world that rewards corruption and power. The themes alone are so rich with human meaning and subversive nihilism that they alone make the film a crucial addition to thinking man's exploitation. These ideas are framed by blissfully blasphemous amounts of nudity, sadistic sex, and violence, with a wallop of nunsploitation imagery thrown in for good measure. They are also framed by several plot inconsistencies and poor performances which detract from some of the picture's effectiveness.

Staying remarkably close to de Sade's mammoth novel (without the tiresome over-winded philosophising and meandering structure, Justine admirably (if that is the right word) captures the daring amorality, fetishism, and bold psychological insight of de Sade's story, making it as elegantly unsettling as it is grotesquely beautiful in describing a lifestyle and human impulses many choose to leave to their unconscious minds. A sadist's wet dream, every convention of standard morality is mocked herein, the polite exterior of civilized behaviour and Christian morality peeled back to expose the dirty animal underbelly of human instinct, particularly as it applies to sexual desire and the more general quest for power. Koo Stark is luscious and vulnerable as a virtuous servant of the Court, a young woman who lives by God and Man's laws and seeks to only do right . . . and who suffers every step of the way for it due to the apathy and instinctive selfishness of society. A culture that weighs people by their outward actions rather than by their fidelity and whose lust responds naturally to the voluptuous fem fatal Julliette, the amoral sister who revels in degradation.

Koo Stark's role as a naïve victim whose very impulse to be 'moral' seals her downfall resonates with depression and beauty, and as viewers we're torn between the desire to save her or see her suffer further, invited to wallow in the darkest byways of human obsession. Her contradictory vulnerability and unconscious seductiveness make her the perfect embodiment of desire and debasement. The direction is assured and pacing allows enough to establish character amidst the kinky orgies of flesh and depravity. While a delicious degree of raunchy sexual subversion is emphasized in stunning set pieces juxtaposing de Sade's intellectual vitality with the pain and ecstasy of power politics, some of the more disturbing moments come not from exploitation but the believable conflict between Stark and Juliette, as a degree of understanding, pity, and dislike is achieved for both of them. Boger equals de Sade's other cinematic disciple Jess Franco, crafting a more elegant rendering of uncle Jess's favorite themes with a moody color scheme and sense of unrestrained yet poetic realism that Franco occasionally lacks. Justine neither glorifies nor condemns the uncontrolled pursuit of desire and personal satisfaction enjoyed by Julliete and personal condoned by de Sade, lending the story further power to disturb and entice.

Justine is offered b y Redemption USA in a favourable looking anamorphic widescreen print. The image is sharp although a constant sprinkling of grain and occasionally washed out colors keeps it from sparkling. Still, the damage is minimal and not overly distracting, with colors lush and realistic, enveloping the skin and sin in a sheen of naturalism. Audio is featured in Mono and is crisp and serviceable without noticeable background interference.

Extras are informative, offering a cultural background for the feature and de Sade's themes, including an Interview with Chris Boger wherein he waxes on about his work. A second Interview with Ian Cullen is supplies further background information. Stills are sparse but entertaining, followed by a Theatrical trailer, Video Art, and Trailers for other Redemption titles, rounding out a celebration of perversion.

Review by William Simmons