The Sexual Story of O (1984) Poster

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1/10
How to make a movie in 2 days.
Thom-P11 October 2000
Warning: Spoilers
WARNING: CONTAINS SPOILERS (though you may thank me for them later).

Just picked up an ex-rental and thought I'd offer a little review of this Jess Franco "classic." The box reads: "An aristocrat and his friends invite beautiful women to their home where they torture and rape them." Oooookay.

The film begins with a woman masturbating in a highrise apartment building. For the sake of simplicity, let's call her Masturbating Woman. Across the way, in another highrise, are a couple whom I gather are supposed to represent the Aristocrat and his Mistress, though it's hard to imagine an Aristocrat living in what is basically a pre-fab apartment complex. Whatever... Aristocrat and Mistress spot Masturbating Woman through their window and decide to have sex. Masturbating Woman also spots Aristocrat and Mistress and decides to continue masturbating. It is here that Franco displays his total command of the art of montage as he deftly cross-cuts between the two settings, treating us to a startling display of masturbating and fornicating that just goes back and forth and back and forth and back and forth until the doorbell rings in Masturbating Woman's apartment, interrupting her bliss.

Masturbating Woman answers to find the Mistress standing there and the two decide to have sex. After a fair bit of lesbianism, Aristocrat himself joins the ladies for a threesome. Then Masturbating Woman leaves for no apparent reason and Aristocrat and Mistress decide to have sex in Masturbating Woman's apartment.

Later that day, Masturbating Woman and Mistress have sex again, though we are never quite sure in who's apartment. No doubt, Franco intended this in order to keep his audience disoriented, or else he just didn't have time to shoot any establishing scenes. No matter, because soon Aristocrat joins the ladies for yet another threesome, brilliantly mirroring the previous threesome scene.

Then the three take a boat ride across a lake to a country villa where resides a Stern-Looking Woman and, as we will later learn, a Wimpish Man. After some brief introductions, the foursome decide to have sex and it is during this scene (or perhaps a later sex scene - my memory fails me here so cut me some slack) that said Wimpish Man appears from behind a plate-glass window and proceeds to watch for a while. However, not content as a spectator, Wimpish Man soon joins in the action and after shooting his bolt, starts to cry for reasons known only to Franco.

Later, Aristocrat goes for a walk on the beach and meets Masturbating Woman. The two have sex in a field and in a subtle stroke of genius, Franco has us believe that the two have inexplicably fallen in love. As is the case whenever two people fall in love, Masturbating Woman returns to the villa for a nap while Aristocrat continues wandering aimlessly across the beach.

Back at the villa, Masturbating Woman is roused from her nap by the Mistress, who proceeds to stick a syringe in Masturbating Woman's arm. Masturbating Woman vehemently protests, but only verbally since any physical struggle would have required more camera setups than Franco had time to shoot. When Masturbating Woman awakens from her drug-induced slumber, her vision is obscured by gauze filters over the camera lens, but she can still distinguish the Mistress, Stern-Looking Woman and Wimpish Man, all of whom are now donning various S&M costumes. The Mistress then chains Masturbating Woman's wrists. Again, Masturbating Woman protests, but only verbally since any physical struggle would have interfered with Franco's epic 2-day shooting schedule.

Once Masturbating Woman has been falsely-secured, Wimpish man produces a miniature spiked ball and chain which he uses to supposedly whip Masturbating Woman, although every blow only manages to hit the mattress. This can be interpreted either as Franco's symbolic statement that all of our bodies are merely used mattresses with which to contain our souls, or else his non-existent FX budget didn't allow for the tearing of flesh. No matter though because soon the S&M freaks produce blood-drenched whips and proceed to lash Masturbating Woman's naked body, streaking it red with ketchup stains. This turns them on so much that Stern-Looking Woman kneels over the bed and begins stabbing Masturbating Woman repeatedly, which affords Wimpish Man the opportunity to mount Stern-Looking Woman from behind while the Mistress masturbates off to the side.

Meanwhile, Aristocrat returns from his aimless wandering and sees the S&M addicts in the process of killing the woman he apparently loves. Conveniently, he just happens to have a shotgun in his hands and immediately opens fire, killing everyone.

In a gut-wrenching grand finale, we see Aristocrat carrying Masturbating Woman's dead body into the sea as Franco's camera pans up to the sun, suggesting that the sun is hot and the water is cold and we will all die eventually. Fin.
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One of Franco's Best from the Decade
Michael_Elliott27 February 2008
Sexual Story of O, The (1984)

*** (out of 4)

Jess Franco returns to the same ground as Eugenie...The Story of Her Journey Into Perversion and delivers a pretty good remake and certainly one of the best films I've seen from his Golden Era productions. A naive young woman is sexually preyed upon by a man and woman who plan on selling her to a bizarre couple who will sexually torture the girl. The only problem is that the couple, both the man and woman, begin to have feelings for the girl. We've seen Franco tackle the Eugenie theme countless times but it's one element that he always nails on the head. There's really not too much that happens in this film as Franco takes his sweet time with every single scene by extending them to their fullest. For the most part this works but there are a few scenes that become rather boring including a three-minute toe sucking scene. However, Franco always captures sexuality perfectly and that's the case here. Franco's also known for using the same cast members over and over but this film features all fresh faces, which made the film more interesting to watch for someone who is nearing one-hundred films viewed by the director. The director doesn't pull any punches during the violent ending and manages to make it quite hard to watch even though there's no graphic violence. The film has terrific cinematography and a great score that makes this one of the director's better efforts, although newbies certainly shouldn't start here.
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7/10
Sexual Story of O
Scarecrow-8823 March 2008
Warning: Spoilers
Odile(Alicia Príncipe) is a young woman just writhing with the desire of sexual embrace. It's only a matter of time before someone(..or multiple someones)would offer their services to her. Often freely sporting her naked flesh, soon a couple discover her from their own hotel bedroom and a sexual rendezvous will commence. What Odile doesn't expect when she takes up an offer to join the couple on a trip to an isolated island estate is the Count Von Karlstein(Daniel Katz)and Countess Wanda Von Karlstein(Carmen Carrión)a wealthy elite who are also into kinky sex with sado-masochistic tendencies. Odile's mistake in trusting in Mario's(Maura Ribera)'s bi-sexual wife(Mari Carmen Nieto)who is the culprit behind her seduction..what Odile does not realize is that when you travel down the road to passion and ecstasy, embracing the sexually free lifestyle she soon excepts with open arms, comes a dangerous price when associating yourself with the wrong person.

To be honest, I felt Jesús Franco's "Sexual Story of O" is ultimately about sexual awakening and the dangers of embracing a sexually free lifestyle with just anyone..often is the case, there are repercussions if you have passionate relations with just anyone. In Odile's case, she is "selected" by a woman searching for another without inhibitions or restrictions..some woman who is yearning for the touch of another, whether it be male or female. Odile lets her guard down, because of this attraction and free-spirited delight towards Mari Nieto's seductress. Franco successfully builds their scenes, starting with the eye-contact between Odile and Mario's wife, while we also see that Odile ogles Mario, from their hotel windows..an opportunity is presented, and we watch as Mario's wife makes the first move. Odile could very well turn her down, yet a heart-pounding desire inside both women drives them to accept the passion that awaits them. An three-way commences, as well as a heated lesbian encounter, where Mari Nieto's seductress enters Odile's room ready for action. The last portion of the film has us entering the world of the Count and Countess, where we see how Odile's life will be threatened when their masochistic appetites emerge. Mario, his wife & Odile meet them, there are dinners, and soon Odile is unconscious on a bed as others(Mario's wife and the Count)disrobe and molest her as the Countess looks on, so moved by what she sees that an act of masturbation soon begins. Franco's camera really likes to move in on characters' faces as sexual acts take place showing the pleasure of watching. My favorite sequence, the lesbian encounter in Odile's hotel room couch between her and Mario's wife..Franco's camera really moves in close and both actresses seem to be into the moment, especially a long kiss as their tongues slide and caress. I do feel that "Sexual Story of O" is just that..her sexual experiences which soon leads down a dangerous path.
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10/10
One of Franco's least known and one of his best
GSeditor23 January 2002
Never mind the title, this does not have much affinity with the famous French S&M movie, Histoire D'O. Instead, it is one of Franco's several movies inspired from and loosely based on Sade's Philosophy in the Boudoir. This is quite unlike some of Franco's better known kitsch sleaze flicks. It is a deliberately slow-paced, minimalist piece of erotica. Yes, there are quite a lot of (soft-core) sex, three-some, lesbian, etc., scenes esp. in the first 2/3rds of the movie, and yet despite the presence of these skin scenes, the movie is a very uncommercial and personal effort. The victim's eventual descent into being a prey of the predatory aristocrats from cherishing a chance at free sex experience is very well executed and the final sado-orgy is terrifyingly nightmarish.
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6/10
Sexual Story of O
BandSAboutMovies28 February 2022
Warning: Spoilers
Princess von Baky (Carmen Carrión) leads a life of wickedness, using everyone around her, like her sickly and impotent husband (Daniel Katz) and her servants Mara (Mari Carmen Nieto) and Mauro (Mauro Rivera), who lure virgins to her home where they all violate and torture the innocence out of them until the well runs dry.

A young American named Odéle (Alicia Príncipe) has been spying on them. As she starts to become part of the carnal games within the home, Mauro falls in love with her and tries to save her, but as the movie moves from a languid soft core feel to a psychedelic burst of blue lights and bloody BDSM violence, everything gets incredible apocalyptic, followed by a walk into the sea that perhaps can wash away the blood. But probably not.

Franco made this movie with an entirely new cast of actors than he usually used in an attempt to shake things up. One wonders if he could have done that by making a film he hadn't already made before, but I have no interest in questioning Franco, only using his films to send my brain into a level of near drug-induced drone.
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8/10
Sade + Franco = Essential Erotica
Nodriesrespect13 May 2010
Warning: Spoilers
Quite possibly the best of Jess Franco's early '80s Golden Films International period, a position only threatened by his delirious MACUMBA SEXUAL, this apparent rip-off in title only (as usual forced upon him by the production company, something of a running thread throughout his career) provides a continuation of his long-running and well-documented obsession with the Marquis De Sade rather than any tangible connection to the once deemed scandalous "Pauline Réage" novel or Just Jaeckin's high gloss 1975 film version. Closest in spirit to his 1970 and 1980 EUGENIE adaptations, it provides another allegory of good versus evil, the likes of which the incarcerated Sade's work is teeming with and which may have found their ideal cinematic translator in Franco, who always does proper perversion well as opposed to mere kinkiness, the narrow-minded bourgeois variation thereof. The pattern stays the same : an innocent victim abused by depraved society, a single if ultimately extinguished ray of hope offered by the fleeting shadow of doubt she stirs up in the heart of one tormentor, briefly reacquainting him with his cynically relinquished humanity.

Budgetary constraints demanding, this narrative construction's even more pared down than usual here, allowing for just five characters in an otherwise seemingly uninhabited environment. Franco's no stranger to limitations that would stifle a lesser talent and as usual makes the best of what he has got, pushing the claustrophobic hothouse atmosphere off the charts. "O" stands for Odile, an American tourist to Spain, the language barrier playing an important part in the plot as it effectively renders her naive character oblivious to the evil intentions of her apparently (all too) friendly next door neighbors. Tag-along girlfriend of Emilio Linder, who was particularly memorable in Franco's LILIAN THE PERVERTED VIRGIN before renouncing his disreputable past - including a spot of hardcore penetration - for a career in Spanish TV (not exactly a step up if you have ever seen Spanish TV), Alicia Principe at least makes for a credible innocent even if she's decidedly the weakest link in an otherwise sterling ensemble. Moving in an opposite direction from her mentor career-wise, she wound up playing dress-up in penny-pinching Eurociné fare like GOLDEN TEMPLE AMAZONS. Wiling away the hours listening to inane radio shows and playing with herself, Odile catches the eye of the mercenary Mario (hunky Mauro Ribera, also in José Ramon Larraz's BLACK CANDLES) and his hot to trot girlfriend (a scene-stealing turn by juicy Mamie Kaplan from Franco's MANSION OF THE LIVING DEAD) who supplement their income by supplying young women to a pair of perverted aristocrats, the formidable Princess De Bombaqui (the disquieting Carmen Carrion, a legitimate theater actress who moonlighted in Franco fodder, his hardcore FALO CREST presumably the nadir of their collaboration) and her highly strung husband, another singular performance by the idiosyncratic Daniel Katz who left an indelible impression in the director's NIGHT OF A 1000 SEXES the same year.

Oblivious to the nefarious plans they quite bluntly discuss right in front of her to chilling effect, Odile's seduced with a master's hand, not so much by Mario who's somewhat shaken by the girl's trusting demeanor as by his diabolical squeeze who's even more compelled to do damage by her man's impending change of heart. Sex scenes are both elaborate and intensely erotic, permeated with an aura of doomed melancholy due to Daniel White's recycled theme music from Franco's fabulous BARE BREASTED COUNTESS a/k/a EROTIKILL made a decade earlier. Severing all ties between Odile and a society that couldn't care less, these petty criminals take her to the island (of course) of the story's real evildoers, as always with Sade and more often than not with Franco belonging to decadent aristocracy. This sets the scene for the inevitable climax, one of the strongest sequences in the whole Franco filmography where so much mayhem is implied through intricate cinematography by the criminally underrated Juan Soler (because of his sustained employment on the sleazier side of cinema) and judicious editing by the director himself. Defragmenting this incredibly unsettling scene, it's amazing how little Franco gets away with actually showing. Detractors who have dismissed him as a hack in the past would do well to study the maligned Maestro's power of suggestion working overtime and humbly eat their words. Truth will out after all.
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6/10
Top flight Franco
JohnSeal4 February 2012
Warning: Spoilers
It's amazing what Jess Franco can do with a film when he, y'know, TRIES. Case in point: Historia sexual de O (Sexual Story of O), the director's take on the Pauline Reage novel that proved to be an overground underground hit (you know what I mean!) during the 1970s. Though there are plenty of boring and overly long sex scenes, Franco clearly didn't phone this one in--it's beautifully and carefully shot (though there's the occasional frame jerk to remind us all that it IS Jess behind the camera), deliberately paced, and sensitively scored. At the same time, it also manages to be one of the most outrageous films our hero ever made, and it's clearly top 10 material. A very pleasant surprise, right down to the deeply unpleasant but astonishing denouement.
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