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Even the grandest of Bouffers are gonna have a hard time swallowing this 1974 nihilist sexual assault romp with Gérard Depardieu and Miou-Miou. An interesting but uncomfortable look at the French post-new wave sex revolution through the story of two sociopaths on a endless road trip to satisfying their desires.
For his second feature, Bertrand Blier based the film on his novel “Les Valseuses” (French slang for “the testicles”).
The swinging balls of the film’s provocative French title refers to 25-year-old Jean-Claude (Gerard Depardieu) and Pierrot (Patrick Dewaere), his 23-year-old partner in crime.
The two roustabouts are petty criminals on a constant bender of robbing women, stealing cars, and sexually assaulting women if not each other. Indeed, there is a scene in which Jean-Claude buggers his friend after breaking into an unoccupied beachside home because “it’s only natural.”
So it is that Bertrand Blier presents a transgressive outlaw mentality unchallenged by any would-be authority figures in France. Crime is merely a way of life.
Marie-Ange (Miou-Miou) serves as the film’s [hijacked] anti-protagonist after being taken against her will by our thugs du jour. Marie-Ange’s primary objective becomes achieving orgasms, much to the dismay of the sexually adventurous Jean-Claude and Pierrot who find themselves woefully unprepared for the task at hand, try as they must.
The two male characters represent an opposite but equal affront to capitalist ideologies. Neither man is intellectual enough to act with any informed nihilist or anarchist agenda, rather these are cartoonish hippies in search of immediate gratification without regard to social norms. They are punks before the Punk movement took hold, albeit with a more focused approach that found expression though music.
Jean-Claude and Pierrot seem to briefly relate on a humanist level when they help Jeanne Pirolle, a recently released prison convict played by Jeanne Moreau. Still, their financial generosity and sexual attention backfires when Jeanne sneaks off to fulfill her own fantasy of psychological and physical escape.
Although inscrutable to any mainstream reading, “Going Places” succeeds due to the film’s refusal to provide easy answers for its characters’ irredeemable actions.
Here is an unapologetic, if infuriating, cinematic provocation that dares its audience to rationalize the orgiastic behavior on display. John Waters could do no better. Governments, politicians, soldiers, and police are busy committing far greater systematically generated crimes as you read these words.