across the bridge of her nose and signs of long-hours exhaus- tion around her eyes, through which we can practically read her thoughts. Allowing collec- tors to let go of the Oracle DVD is the shared provision of both the (not-so-hot) English and French dub tracks, which fea- ture occasionally different Bruno Nicolai music cues, in- cluding a ruinously different one in the English dub of Eugenie’s strip-tease during a drinking game with a hitch-hiker. The Wild East disc retains supple- mentary short film fragments that remain unique and essential to Franco collectors.
In “Franco de Sade,” David Gregory’s accompanying 20m interview with the filmmaker, Franco reveals for the first time that Soledad was beset by pre- monitions of her early death throughout the shooting of what she was convinced would be her last film. (She lived to make three more.) He also dis- cusses his own teenage discov- ery of Sade’s forbidden works, his love for the characters, and uncategorically denies that he and Miranda were lovers—con- vincingly so. He also goes on
the record about eerie details of Soledad’s oltre-tomba endorse- ment of her successor, Lina Romay, with whom he did be- come involved. An English trailer also bearing the Eugenia title is included, featuring some unique alternate take footage.
KAMELIENDAME 2000 Camille 2000
1969, E-M-S/Xploited Cinema, DD-2.0/MA/16:9/LB/+, $19.95, 95m 46s, PAL DVD-2 By Tim Lucas
We last reviewed Radley
Metzger’s CAMILLE 2000—his erotic, almost futuristically haute couture retelling of Alexandre Dumas’ “La Dame aux Cammelias”—in VW 48:8, when First Run Features ini- tially brought it to VHS. FRF has since reissued the title as part of their first Metzger box set, but it has remained stub- bornly sourced from the same outdated, stale-looking, non-an- amorphic master. For those who, like me, the film has become a personal favorite by virtue of the late Daniele Gaubert’s tragically prophetic performance or Piero Piccioni’s dazzlingly romantic
beat score, this new German release, with an English audio option, offers a measure of satisfaction. The disc isn’t per- fect, but it is anamorphic (a great leap forward in itself); it doesn’t have the digital sharpness of an internegative transfer, but for a 35mm-sourced transfer, its film- like qualities are quite acceptable. The disc contains the Ger- man version of the picture, which features some unex- pected variations. If one se- lects the English viewing option, the film is preceded by a card in German that reads (my translation) “Dear Film- friend: We apologize for the fact that some scenes in this English language version are worded in German. These scenes were cut from the En- glish edition.” The presentation includes four instances where German-language footage has been inserted, most of them less than 10-15 seconds in length. The exception is a 1m 30s scene found at 63:33- 65:04, in which Armand (Nino Castelnuovo) visits Prudence (Eleanora Rossi-Drago) in her dress shop to discuss his prob- lems with Marguerite (Gaubert).
Nino Castelnuovo and ill-fated lover Daniele Gaubert pause to admire themselves in the looking glass of Radley Metzger’s CAMILLE 2000.
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