An Interview with Paul Muller/EUGENIE DE SADE

This interview was conducted in 2005. Paul Muller passed away in September, 2016. I thank him for his patience with my questions.

(C) Robert Monell

Patience is the term which comes to mind first when attempting to describe the character of Paul Muller, tempered by a distinct Swiss formality which, in time, dissolves to reveal a very warm, kind human being who has seen it all, been there and done that, but remains humble about his own considerable gifts. There's a certain very low key frustration about his career, a certain wistfulness and sadness which is very difficult to describe in written words. Like his layered performances, he simultaneously and subtly, very subtly, suggests all the burdens and possibilities of human creativity in a world and business where extraordinary sensitivity can be a stimulus or a curse... Paul Muller (b. 1923 in Switzerland) has appeared in well over 200 films since 1948 and still has an agent. He has been in Hollywood mainstream productions, obscure European genre films, TV dramas and has been a recognizable visage in Italian Cinefantastique from the seminal I VAMPIRI (1957) to the not so hot GATE OF HELL, the eminently forgettable Umberto Lenzi satanic adventure from 1990 where he appears very briefly as a murderous monk stalking scientists in a haunted cavern. Our conversation covered the films he made with Jess Franco from 1968 to 1975. "Pronto!" the voice was both high pitched and full of undefined emotion. Paul Muller speaks VERY loudly and clearly and shifts immediately to perfect English when I indicate I can't speak Italiano. But he can't understand a word I am saying... I report our conversations from the outset to give a feeling of the man himself and perhaps for entertainment value, as it seemed that at times Paul Muller was interviewing me:

PM: "Where are you from?" RM: New York, well upstate New York. PM: You have an American accent which is hard to understand. RM: Yes, I've been told that. I'm sorry. PM: No, don't be sorry. You'll have to speak slowly. RM: I am writing a book about Jess Franco and wanted to interview you about your work in his films. PM: You are writing a script about me? RM: A book about Jess Franco. PM: Ah, yes, Jessie. How old is he? RM: He's about 75 now. PM: Ah, that's younger than me [laughs]. Is he still making films. RM: Yes, he just completed one. PM: Does he still make them in the same way? RM: Well, he still makes them quickly and inexpensively and in his own way. PM: I thought so. What do you want to know about the films I made with him? RM: Well, first of all, I'd like to say I'm an admirer of your extensive acting career. You are a very impressive actor. PM: I don't understand. RM: Well, I meant you are very good in all the films I have seen you in, but let me ask you about Jess Franco. PM: What years do you want to know about? What exactly do you want to know? RM: About your feelings about him as a director and the experiences you had while making these films. PM: Jessie could have been a very good director. But he was never prepared. I think if Jessie had taken time to prepare, to work on the scripts he could have been a good director. But he never had the time or the money. These films never, ever had a script. There were all just ideas he had. He had plenty of ideas, but you need more than ideas. He had good ideas but they were never developed properly. He never shot with a script and he was trying to get the production money as they were being shot. He was very busy and the films were lacking many things. RM: So, there was never any finished script or secured completion funds on ANY of the films of his you were in? PM: No, never. That was the problem. RM: Let's start at the beginning. I believe your first film for him was VENUS IN FURS in 1968? Do you remember that one? At this point Mr Muller excuses himself and when he returns appears to be reading something which he often consults during the conversation. PM: No, I only remember the years and the titles Jess called them by when we were shooting. RM: That one was also called BLACK ANGEL or Paroxismus... in Italy, I believe. PM: No. I was in DE SADE 70 first then THE TRIAL OF THE WITCHES and THE NIGHT HAS EYES then DRACULA and EUGENIE. Later, in Germany I was in DR JEKYLL AND MRS HYDE and AKASAVA. RM: I'm trying to get a correct chronology and I appreciate it that you have records. When was VAMPYROS LESBOS shot? With Soledad Miranda. PM: I don't know that title. I made a film Jessie called UNDER THE SIGN OF THE VAMPYRE with her in Germany and Spain and then JULIETTE. RM: Right, that's it. But lets go back. PM: I'll try my best. RM: Thanks. Now you don't seem to remember VENUS IN FURS but.... PM: No, I remember DE SADE 70 in 1969 as the first with Maria Rohm, Jack Taylor and Christopher Lee. RM: OK, good, that's got a different title now, EUGENIE... HER JOURNEY... but was DE SADE 70 the shooting title? PM: Yes, that was shot in Spain.These first films I made with Jessie were shot partially in Madrid, then in Barcelona and someplace else in Southern Spain. RM: THE BLOODY JUDGE was shot partially in Portugal. Do you remember that? And where, exactly, in Southern Spain? PM: All I remember is in southern Spain. RM: Do you recall the cast of DE SADE 70: Christoper Lee or the lead, Marie Liljedahl? PM: I don't know who Marie Liljedahl is. RM: She played the leading character, Eugenie. PM: I don't remember her. I remember being there with the cast who were all very nice, that's all. These films were made very quickly and sometimes he would make two films at the same time. And later they were all made in a row, one after another. RM: I understand. What came next? PM: Then there came THE NIGHT HAS EYES with Diana Lorys and Jack Taylor. RM: Good, you remember the exact casting. That's also known as NIGHTMARES COME AT NIGHT. Diana Lorys is very good in that one. PM: I don't remember her at all. That was also shot very quickly in Spain. RM: How quickly. PM: Maybe a week, maybe less. I don't remember much about that one. RM: THE BLOODY JUDGE and EL CONDE DRACULA had more prominent casts including Christopher Lee. Were they bigger budgeted? PM: I remember Soledad Miranda from DRACULA, THE VAMPIRE. RM: I wanted to ask you about her. PM: She died in a car accident. She could have been a great actress, a big star, if she had lived. RM: Mr. Muller, which films do you remember the most about and which actors? PM: EUGENIE, made in 1970 with Miranda, then UNDER THE SIGN OF THE VAMPYRE and DR JEKYLL AND MRS HYDE, also with her. She was called Susan Korda in those films. Then, later I made AKASAVA with her in Germany. Part of DR JEKYLL was also shot in Germany with Horst Tappert. Earlier I made SEX CHARADE with her and Jack Taylor. RM: OK, let's go back to SEX CHARADE and EUGENIE. Were these the first of the series of films you made with her in 1970? PM: Yes, I think so. But these two were made almost at the same time. I remember EUGENIE was a good film which could have been a very good film if he had more time to prepare the script. This was shot all in Germany. RM: In Berlin. PM: Correct. Also shot very quickly. I remember Jessie was writing all the lines on the set for the next scene as we were shooting. We would take a half an hour break and then shoot the scene he had just written. RM: Dialogue and blocking? PM: Yes, everything was written just before it was filmed. RM: Talk about the day to day filming of EUGENIE. Was it all hectic, as you have suggested.? PM: Yes, we didn't have any preparation or any rehearsal time. And no money for anything. It was all made up on the spot. As I said, Jess was writing as he was shooting.. He would be dictating lines which we would shoot shortly a half hour later. He was never sure about anything, never sure about thematic things. He had very good ideas but never had the time to work on them. RM: Was EUGENIE filmed MOS? And what language did you speak your lines in? PM: EUGENIE was shot in English. Miranda and I were given our lines by Jessie in English and we spoke them in English. They recorded our dialogue in English. RM: That surprises me. I thought it may have been filmed in French. PM: No, Jess spoke to me in French on the set. He spoke in German, French, Italian on the set to the crew when giving directions. I spoke to Jess in French and I spoke in Italian on the set to everyone else, but my lines were always given and delivered in English. RM: "Given" by whom? PM: Jessie, he always gave the lines in English but other directors to me in French. RM: It sounds like the Tower of Babel? How did you commnunicate with Soledada Miranda? Did she speak English or Italian? PM: No, she spoke just Spanish. But I talked to here in Italian, which she seemed to understand. There wasn't any trouble between us. She just spoke her lines of dialogue in Engllish. She was good, as I said, and would have become a better actress had she lived RM: On the EUGENIE set, did she speak her lines phonetically? PM: Yes, she just repeated the way they sounded in English if that's what you are asking. RM: She's very good in that. What did you think of her performance? PM: She was very good, she was a very good actress in that, not timid. RM: Can you discuss her as a person? How was she offset? PM: A nice person, a very good working partner. Very friendly. RM: Was VAMPYROS LESBOS filmed right after EUGENIE. PM: Yes, if you mean UNDER THE SIGN OF THE VAMPYRE. We shot that in Germany and Spain. RM: And Istanbul. PM: No, just Germany and Spain. RM: There's a lot of scenes set and shot on location in Istanbul. PM: I haven't seen it and I didn't go there then. This and DR JEKYLL were shot close together in Germany and Spain. Fred Williams was also in DR JEKYLL and Howard Vernon. RM: What do you remember about them? PM: I just have it written down that they were there. I don't remember them. RM: DR JEKYLL also has a different title now, SHE KILLED IN ECSTASY about a Doctor who is driven to suicide and how his wife avenges him. PM: Yes, that was called DR JEKYLL on the set by Jessie. You must understand I had forgotten about these films until you called. Look, they all could have been good films! But I keep telling you that he didn't take the time or didn't have the time to prepare or develop them or film them. I really can't tell you anymore than that, but thank you for asking about them. RM: I wanted to ask you about the others.... You spoke of JULIETTE... PM: Yes, that was filmed by never released. I think it was left unfinished at the time because of money problems. That's all I remember. RM: You also made one with Christina Von Blanc called VIRGIN AMONG THE LIVING DEAD in English. Do you remember her or that film? PM: No, I don't remember her, I only remember making one called THE NIGHT THE STARS CRIED in Spain after the ones with Soledad Miranda. I don't recall anything about filming it, though. That's the last one I remember. I apologize but I think I have given you what you wanted to know and I'm sorry I didn't understand you at first. I wish I remembered more, but these were made many decades ago. Then Mr. Muller said "Goodbye", a final bow shaded with that mysterious mixture of wistfulness, wisdom, sadness and humanity which we all remember from his many cinema incarnations. Below is my first impression of EUGENIE DE SADE, published 25 years ago in the international website, DARK WATERS: 1970 85 MINUTES -BLUE UNDERGROUND- DIRECTED BY JESS FRANCO WITH: SOLEDAD MIRANDA, PAUL MULLER, ANDRE MONTCALL, GRETA SCHMIDT, ALICE ARNO, KARL HEINZ MANNCHEN, JESS FRANCO -------------------------------------------------------------------- (a.k.a. EUGENIE; EUGENIE DE FRANVAL; DESADE 2000; EUGENIE DE SADE)

EUGENIE DE SADE is the story of Eugenie Radeck, the young daughter of a writer of erotic literature (Paul Muller). It is told from Eugenie's deathbed, as she recounts a tragic encounter with criminality. She is persuaded by her twisted father to first enter into a forbidden relationship with her, and the hook up with a film director, Tanner (Jess Franco), which leads to a no-holds-barred murder spree of various "loose women." One of these women is an S&M prostitute (played by Alice Arno in her first appearance in a Franco film) who they first photograph and then strangle in a sleazy Brussells bordello. This outrageous scene mimics the filmmaking process itself, with the father acting as director and the daughter as lead actress/murderess. Reality and illusion constantly blur in this film, as in Franco's somewhat similiar SUCCUBUS (1967), which was shot on some of the same locations in Berlin. Eventually, Muller brutally murders Miranda in a fit of rage, and then committing ritual suicide by disemboweling himself. All of this is watched over by Tanner, who hears Eugenie's last confession, and the film's last shot of him, looking mournfully down at the dead woman, is one of Franco's finest moments as both actor and director. (Miranda, who was killed in a car accident only months after appearing in this film, made several other erotic thillers and horror titles with Franco.) She is the film's tragic victim, albeit complicit in her father's crimes. Muller is the Sadean protagonist par excellence. An intelligent, menacing figure, an auteur of Sadism who makes films of his crimes, only of which is watched by Franco in the film's opening credits. Franco himself stands in for the viewer, who brings a rational point of view into the otherwise obsessive mise-en-scene. EUGENIE DE SADE benefits from the powerful chemistry between Muller and Miranda, two of the most instense performers in Franco's acting stable. They are at the top of their game here, with Muller especially effective as the sinister, tormented sadist. Franco based his screenplay on Sade's "Eugenie de Franval", and it remains the closest any film has come to capturing the spiraling contradictions of Sadean philosophy, as well as the dry wit of the notorious author. An jazz infused score by spaghetti western composer Bruno Nicolai (who also scored Franco's EL CONDE DRACULA (1969) evokes a bittersweet mood, which often swings unexpectedly into a Euro-pop female vocal. The Video Search of Miami video version of this movie is incorrectly listed as DESADE 70, which was an alternate title for another Franco Sade adaptation, EUGENIE, THE STORY OF HER JOURNEY INTO PERVERSION (1969).

Although still mentally focused when I spoke with him, Muller had forgotten VENUS IN FURS (1969) as his first appearance in a Jess Franco film. He had also forgotten DOWNTOWN (1975), his final collaboration with Franco, produced by Erwin C. Dietrich. He did mention A VIRGIN FOR ST. TROPEZ as a Eurocine project which started shooting right after the completion of THE HOT NIGHTS OF LINDA (1973). He did remember working in Spain (Portugal?) with Franco on THE NIGHT THE STARS CRIED (aka VIRGIN AMONG THE LIVING DEAD). He also mentioned that A VIRGIN FOR ST. TROPEZ and being directed by Franco in his scenes for that film. He noted there were other Eurocine directors working on the shoot simultaneously when he and Franco arrived. Several interiors familiar from previous Franco films are featured in this production, credited to Eurocine director/editor/screenwriter Georges Friedland, who would to on to script Franco's DARK MISSION (1987) and THE FALL OF THE EAGLES (1990). The settings in question are seen in Franco's 1974 EXORCISM and the basement torture chamber setting previously used in Franco's LA COMTESSE NOIRE and HOT NIGHTS OF LINDA (both 1973). Although it is unlikely that Franco directed the entirely directed A VIRGIN FOR ST. TROPEZ, Franco was obviously tapped by Eurocine to lend a hand in this film's production.

The images below are all from A VIRGIN FOR ST. TROPEZ:

Thanks to Kit Gavin for helping me locate Paul Muller. (C) Robert Monell, 2024

Jess Franco's Digital Apocalypse, Part 2: FLORES DES PERVERSION (2003)

"Forewarned, said she, of all that was destined to take place at the home of the libertine to whom I was being sent, I dressed myself as a boy, and as I was only twenty, with pretty hair and a pretty face, that costume very well became me."

The above quote, from Sade's The 120 Days of Sodom (1785), is a good example of the writing style of "The Divine Marquis", matter-of-fact, formally stylized with his droll pen. Throughout the epic Sade favors a dry, verbose approach, detailing clothing, rituals, lists of torments and witty conversations between the libertines, the narrators and the victims. Repititive, static and episodic, constantly interrupted with sidebar stories, he is less interested in narrative, pacing and psychology than an obsessive, episodic, irony-rich tapestry of perversion from contemporary taboo. One can easily see from a few sentences in any work of Sade why he would immediately appeal to the filmmaker Jess Franco. Especially the Franco who directed the torture sequence in THE SADISTIC BARON VON KLAUS and the entirety of such films as NECROMOMICON/SUCCUBUS (1967) and such Franco adaptations of Sade as EUGENIE DE SADE, PLAISIR A TROIS and EUGENIE, UNA HISTORIA DE UNA PERVERSION (1980).

"I abhor nature. I detest her because I know her well." This Sadean statement, spoken by the female narrator of Franco's HELTER SKELTER (2002), is repeated again and again throughout its length. A film's female voice addressing a female nature. The Francoverse has been steadily female since his very first feature, WE ARE 18 (1959). If anything, Franco's universe becomes more female as his career progresses in digital. It's no accident that Sade's epic novels, JUSTINE (1791) and JULIETTE (1797), both are built around female protagonists. Franco first read Sade at a young age and it stayed with him throughout his 60 years career. HELTER SKELTER quickly shifts downward into a blurry, slow motion,d magenta and citron tinged fantasia between Lina Romay and a partner for the first half of its runtime. The players are always 100 percent involved in the softcore erotica but nonetheless are also aware of the camera's presence and often gaze at the viewer in the midst of ecstasy. That gaze, making the film interactive, is crucial to the director, he paces his film with regular interactive moments in the midst of his delirious mise-en-scene. It's as if to say directly to the viewer that this is not representational cinema. There's also, as in FLORES DE PERVERSION, a naked, bound male, waiting to be abused, hanging up with a view of the coast through a large window. This film was a warning directly from Sade: "Take me as I am, for I shall not change."

*FLORES DE PERVERSION is based on the posthumous Sade text "Augustine de villeblanche, ou le stratageme de l'amour: HISTORIETTES: CONTES ET FABLIAUS de Donatien-Alphonse-Francois, marquis de Sade, publies pour la premiere fois sur les manuscrits autographs inedits par Maurice Heine. A Paris, pour les members de la Societe du Roman Philosophique, 1926. 4to , 340 pages. 

A Manacoa Film Production Filmed in Malaga, Spain PAL R2 X-Rated-Kult DVD Spanish & German language options with removable English subtitles. Photo Gallery Original Trailer X-Rated Kult Trailers.  

 Mme Villeblanche (Lina Romay) operates an upscale prostitution empire located in a office tower somewhere in Spain. She spends most of her days frolicking in bed with her assistant (Rachael Sheppard), occasionally interrupted by business calls on her cellphone. Two new hookers are hired to lure clients into the torture chambers of Mme... a one-way trip for the customers. Jess Franco has returned to Sade again and again since JUSTINE in 1968. That adaptation of Sade's infamous 1791 novel was scripted by producer Harry Alan Towers, this 21st Century shot-on-Hi-Def direct-to-DVD item, along with its 2005 [onscreen (C) 2003] sister project FLORES DE PASION, has yet to make it to R1 Blu ray. 

 Just as he brought Sade into the 20th Century with works like EUGENIE DE SADE (1970), PLAISIR A TROIS (1973) and EUGENIE...THE STORY OF HER JOURNEY INTO PERVERSION (1970), he's now brought him into the early 21st Century, an age of cellphones, shaved pubic hair and the Internet. This is a situational rather than "plot" film, with Fata Morgana, Carmen Montes acting out bondage, whipping, castration scenarios which climax with sexual cannibalism under the direction of Franco's Princess of Eroticism, Lina Romay. 

This isn't a "nice" movie; approach with caution. Once again, it's all shot in anonymous apartments, hotel rooms and what looks like a brick-walled parking garage... minimalist indoor settings in which the "perverted" tableau unfold. The pubic shaving, lesbian groping and whippings go on and on until "duration" becomes just a term. Nothing often happens in Jess Franco films. That's not a typo. There's no fresh air in this perverse, enclosed universe. Sunlight is replaced by onscreen production lamps, pink, green, yellow electronica and colorized digital noise. We don't even have the comfort of continuous full color, sometimes the image turns b&w, with blood-red highlights. 

 A nude man is crucified upside down and another (Ezequiel Cohen) is flayed, then castrated before his [obviously fake] genitalia are eaten by the hungry whores of the Mme... It's an artificial paradise, a vivid, unapologetic alternate reality presented for your consideration.... the Divine Marquis would be proud.

Obsessively interactive with the ladies teasing the camera lens and the viewer beyond while the Franco favorite "Life is Shit" (THE MIDNIGHT PARTY) and other familiar JF tunes are heard on the soundtrack as if caught in a maddening loop. Will the future be a world without men, just languid, intelligent women who control finances and themselves and enjoy using sex as power? Is Jess wanting us to squirm amidst the sexual terrors? It's disturbing, amusing, boring, fascinating all at the same time. I changed my mind about it. You might hate it. You might, like myself, be unnerved to watch our blissful daughters of Sappho, their faces stained with a jet of the recently castrated victim's blood, look into the camera with an evil smile and assert, "And you...will be next." They really knows how to hurt a guy, at least in the mise en scene of movie reality. And it is only a movie.

You get the distinct impression that Franco wants you to take it personally and will break up laughing when you do. It will be knowing, conspiratorial laughter. He wants you to have an internal debate.   As I stated on my FACEBOOK homepage, I didn't enjoy it on first viewing. The film is not afraid to look us in the eye and laugh at our expectations.

But seeing it again, well... let's just say it takes repeat viewings, if you can take it ... and that's a Big if! Thanks to Francesco Cesari for suggesting I might want to think twice.... More Franco Digital Apocalypse comming in the future. (C) Robert Monell 2024