Successive Slidings of Pleasure (1974)

Fantasy, Horror, Thriller /
6.2/10
70% – Critics
70% – Audience

Successive Slidings of Pleasure Storyline

A young woman is questioned by the police and the judges, suspected of being a modern witch. The girl who shared her apartment has been found dead, and a pair of scissors impaled through her heart, as she lay attached to the bedposts. Apparently, the girl does have powers, to make all people around her fall prey to her spell, sliding progressively into desire, lust, and the unknown.—Artemis-9

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Arabicsubtitle Successive.Slidings.of.Pleasure.1974.(French).1080p.BRRip.x264-Classics
Englishsubtitle Successive Slidings of Pleasure (Glissements progressifs du plaisir (1974) BluRay 720p
Farsi/Persiansubtitle Successive_Slidings_of_Pleasure_1974_French_1080p_BRRip_x264_Classics

Successive Slidings of Pleasure Movie Reviews

Artistic sleaze.

A young woman is interrogated by the police and the judges,suspected of being a modern witch.The girl who shared her apartment has been found dead with a pair of scissors impaled through her heart,as she lay attached to the bedposts.Apparently,the girl does have powers,to make all people around her fall prey to her spell,glissing progressively into desire,lust and the unknown.Alain Robbe-Grillet has to be one of the most innovative French novelists and film-makers.His “Successive Slidings of Pleasure” is a wonderful film that contains plenty of surreal moments and lots of sleaze.The movie itself is truly unique and bizarre,so fans of unusual European art-house exploitation won’t be disappointed.So if you are a fan of Jean Rollin’s works give this one a look.This is my first journey into Alain Robbe-Grillet’s visions and I’m highly impressed!

Bold, visionary, abstruse – exquisite

Few are those movies I’ve seen that so emphatically push down any strong, clear sense of narrative. There is indeed a narrative here, but it is loose, and broad, even as the specifics are many and joyously devious. ‘Successive slidings of pleasure,’ or ‘Glissements progressifs du plaisir,’ is effectively the portrait of a deeply troubled and twisted young woman. What, here, is reality? What is her perception of it, or her imagination of it, or her deliberately misleading description of it? Whatever small thread there may be that ties together successive scenes, most imagery feels so wildly detached from one moment to the next that one might reasonably question if there is truly any rhyme or reason to it at all. And still this is cohesive and whole, however wildly abstruse it may get – and peculiarly mesmerizing.

There’s a sense of exploitation to the feature in the substantial nudity, suggested sex acts, and the protagonist’s lurid dialogue, yet it is pointedly muted, and rendered almost abstract by the intensely contorted storytelling. Similarly, there’s a sense of horror promulgated in the suggested violence, the devilish manipulation or deception of other characters, and the gnarly, convoluted tangle of the prisoner’s psychology, but this too is mangled, broken and reformed into only the most curious of shapes. Above all, ‘Successive slidings of pleasure’ is 100% an art film: imagery and scenes constructed with the same creative eye and mind as a painter at a canvas, or a sculptor before an untamed slab of stone; storytelling informed by the lofty pretension of a poet whose every word and phrase must have hidden meaning (or does it?), whose very arrangement of lines in a precise structure surely portend something more (or do they?). Are there Big Ideas lurking behind the assemblage here? Or is it “simply” as it seems, a web of nigh incomprehensible sex, violence, dark fantasy, and finessed craftsmanship?

I’ve never seen anything quite like this, and I suppose the average viewer hasn’t, either. The appeal is likely minimal except for those open to all the wide, weird variety cinema has to offer. Yet it’s plainly beautiful, fascinating, and jarring, all at once. The cinematography, the editing, the writing and direction; the production design, the art direction, the costume design, the hair and makeup; the music, the extraordinary cast, their splendid performances of poise and nuance – everything here is bent towards masterful, subtle artistry, manifesting an odd atmosphere of tension and unease even as the presentation could hardly be more dreamlike. And it’s exquisite – bold, visionary, gorgeous, fabulous.

It’s a lot to take in and process at every turn, but for those willing and able to actively engage with such ambitious, grandiose fare, it’s exceptional, and highly rewarding. Only by chance did I stumble onto this, but I could hardly be happier that I did: ‘Successive slidings of pleasure’ is an utter delight.

Quality avant garde exploitation

A young woman is interviewed by police, judges and clergy who may not all be real over possibly murdering her flatmate. She makes art on naked bodies and mannequins and is probably a prostitute but also might be a witch. That’s almost all the plot there is, all you’ll get from me at any rate but suffice to say, those looking for conventional narrative and clear cut explanations will not have a good time here. This here is more of a delving into the mysteries of mind and memory, an exploration of fractured mind framed in the trappings of Euro-sploitation, its time-line treading forwards, backwards and even sideways from its central bloody death, the effect being that past, present and future become as one, the film itself becomes an image of mind trapped in misgiving and illusion. Its tricksy stuff and can be daunting but the key is in the source, writer/director Alain Robbe-Grillet is generally best known for writing Last Year In Marienbad and while Successive Slidings of Pleasure may be less profound than that marvel of philosophical mystery it shares in its concerns and structure of film as headstate rather than means of surveying from outside. It is also marginally more penetrable than the earlier film, with its various flashbacks and repeated images acting as useful clues to orient the audience in the journey. Not that its symbolism or connections are all that easy to piece together, but they serve as a whole to create a relatively cohesive if slippery mind image at the close of play, a print on the brain that doesn’t necessarily require many viewings to interpret and report upon. The major difference from Last Year In Marienbad though is the sleaze. Sure, there aren’t any Franco style cooch zooms, but the leading lady (stunning Anicee Alvina) is always seductive and often nude, even painting her body to print red upon the floor or smear herself across white walls. She paints the body of her flatmate (Olga Georges-Picot, also stunning) too and together they get up to some winningly strange behaviour including a breathtaking scene involving eggs and a truly bizarre bit of doll mutilation. The bloodier bits are eyebrow raising as well, sensual but never gratuitous. At times things get a little too pretentious, with one scene towards the end a real groaner (coming across as the work of an imbecile parody of the avant garde) and the film as a whole a tad overlong, but mostly this is really splendid stuff. Speech delivered straight to camera, formal body language, terrific sound design with mismatched soundtrack sometimes illustrating thought and other times just letting scenes bleed into each other, its a great trip for sense and mind. Probably something of a niche audience film, but if you fall into that spot on the Venn diagram where philosophers and kooky sleaze-hounds converge, this is a must see. 8/10.

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