Title：Glissements progressifs du plaisiraka：Successive Slidings of Pleasure
Director：Alain Robbe-Grillet
Release Date：1974
Genre：Drama
Country：France
Language：French
IMDb
簡介。。。。。。
Slow Slidings of Pleasure
Although this was made before writer/film director Alain Robbe-Grillet's slightly less obscure "Playing with Fire", it is even more deranged, surrealistic, perverse, and non-narrative than that one. It kind of resembles the early French surrealist films of Luis Bunuel and Salvador Dali except that it is in color and contains Robbe-Grillet's usual manipulation of time and narrative (see "Last Year at Marienbad" or any of his novels). The film seems to be about a young student who is questioned by both police and religious authorities after her roommate is found bound and murdered. Except it's not clear that her roommate is actually a real person or just a mannequin in a bizarre art piece, and it's not even really clear whether she's being questioned after or BEFORE she commits this "murder".
Like several other French filmmakers of this era, Robbe-Grillet got away with making such an experimental, non-narrative feature by adding softcore sexploitation elements, but he doesn't "sell out" as much to the sexploitation angle as some of his country-men like Jean Rollin or Walerian Borowzyx (which might be one of the reason his films are a lot harder to find today). There is very little straight erotic sex in this film; instead there is a kind of extreme polymorphous perversity that at times is pretty disturbing. There are A LOT of scenes of both women and female mannequins in sadomasochist/bondage poses and splattered with blood or red paint. There is also a little bit of "Lolita-ism". The main star, Anicee Alvina, is a beautiful girl with a great body (a long, strange scene where she covers her glorious full-frontal nakedness with red paint and makes "self-portraits" by pressing herself against the white walls of her cell is especially memorable), but she was only in her late teens/early 20's here and could certainly pass for younger, especially since Robbe-Grillet often has her dressed (when he has her dressed at all, that is) in a "baby doll" outfit or a Catholic schoolgirl uniform.
Aside from Alvina this movie doesn't have the "name" cast of "Playing with Fire" (i.e. Sylvia Kristel, Agostina Belli). It does, however, feature an early appearance by Isabelle Huppert, who is now probably THE most respected actress in France. (This is kind of like finding out that Meryl Streep was once in a softcore porno "art" film early in her career, but then Huppert has always been a much more daring actress than Streep). I'm not sure which character Huppert plays exactly--I think she's one the protagonist's school-mates since she was would have been even younger than Alvina back then.
Very interesting film--I'd recommend it to any fan of arty, weird, and/or perverted films.（from IMDb）
我的碎碎唸。。。。。。推薦指數：7.0/10Like several other French filmmakers of this era, Robbe-Grillet got away with making such an experimental, non-narrative feature by adding softcore sexploitation elements, but he doesn't "sell out" as much to the sexploitation angle as some of his country-men like Jean Rollin or Walerian Borowzyx (which might be one of the reason his films are a lot harder to find today). There is very little straight erotic sex in this film; instead there is a kind of extreme polymorphous perversity that at times is pretty disturbing. There are A LOT of scenes of both women and female mannequins in sadomasochist/bondage poses and splattered with blood or red paint. There is also a little bit of "Lolita-ism". The main star, Anicee Alvina, is a beautiful girl with a great body (a long, strange scene where she covers her glorious full-frontal nakedness with red paint and makes "self-portraits" by pressing herself against the white walls of her cell is especially memorable), but she was only in her late teens/early 20's here and could certainly pass for younger, especially since Robbe-Grillet often has her dressed (when he has her dressed at all, that is) in a "baby doll" outfit or a Catholic schoolgirl uniform.
Aside from Alvina this movie doesn't have the "name" cast of "Playing with Fire" (i.e. Sylvia Kristel, Agostina Belli). It does, however, feature an early appearance by Isabelle Huppert, who is now probably THE most respected actress in France. (This is kind of like finding out that Meryl Streep was once in a softcore porno "art" film early in her career, but then Huppert has always been a much more daring actress than Streep). I'm not sure which character Huppert plays exactly--I think she's one the protagonist's school-mates since she was would have been even younger than Alvina back then.
Very interesting film--I'd recommend it to any fan of arty, weird, and/or perverted films.（from IMDb）
阿蘭·羅伯-格里耶1922年生於法國布勒斯特，就學於巴黎，是法國“新小說派”代表作家之一。 1945年在法國國立農藝學院畢業後，獲得農藝工程師證書，在國家統計院及殖民地熱帶水果研究所工作，曾到非洲各地從事水果研究。五十年代格里耶開始文學 創作。 1953年，他發表成名作《橡皮》，1955年因發表《窺視者》獲當年法國評論家獎。之後，他在巴黎午夜出版社擔任文學顧問，同時從事寫作及攝製電影。他 的主要作品除《橡皮》、《窺視者》以外，還有《嫉妒》（1957）、《在迷宮中》（1959）、《快照》（1962）、《紐約革命的計劃》（1970） 、《美貌的女俘虜》（1975）；理論著作有《新小說闡明》（1963）。他的電影小說《去年在馬里昂巴特》（1961）曾由法國新浪潮電影著名導演阿倫 ·雷奈攝製成電影，獲得同年威尼斯電影節大獎。有一個時期，格里耶專門從事電影創作，認為電影藝術比小說更適於客觀地記錄事物的世界，描繪現代人復 雜多變的內心活動，表現時間的跳動，以及現實、想像、幻覺、夢境的交錯。他在1963年單獨攝製的影片《不朽的女人》獲德路克電影獎。並在美國講學，被認 為是"新小說派"的代表。法國<讀書>雜誌第二百八十七期刊登了伊萊娜•弗蘭整理的阿蘭•羅伯-格里耶訪談錄。用他自己的話來說，他寫作是因為他不理解這個世界，這個思想可以上溯到卡夫卡和克爾愷郭爾。
我看的第一部格裏耶的作品，對他的了解還很膚淺。有一套書叫做《格裏耶作品選集》將他幾乎全部的作品編錄進去，有時閒一定要找來看一看。這部電影非常超現實、不同尋常。幾乎沒有故事体，大體的意思是一個女孩被警察和宗教當局懷疑在家中利用類似于巫術的方式進行謀殺，使她的室友毫無反抗地死去（還是沒有字幕，非常遺憾地不能得知格裏耶的電影臺詞）。一切都是混沌的、夢幻的、不清晰的，就如同女主角似乎也不清楚在她的眼中室友到底是商店裏擺放的人體模特，還是一個真實的人。色慾讓人迷亂與無知，它導致了謀殺。是妒嫉，還是憎恨，抑或是兩者兼有？老實說，我對這部電影一知半解。但是格裏耶超現實主義的創新意識，使他的電影中一個一個具有實驗性質的瞬間和意象非常吸引人。這是一部獨特、個性、古怪的藝術電影。
我看的第一部格裏耶的作品，對他的了解還很膚淺。有一套書叫做《格裏耶作品選集》將他幾乎全部的作品編錄進去，有時閒一定要找來看一看。這部電影非常超現實、不同尋常。幾乎沒有故事体，大體的意思是一個女孩被警察和宗教當局懷疑在家中利用類似于巫術的方式進行謀殺，使她的室友毫無反抗地死去（還是沒有字幕，非常遺憾地不能得知格裏耶的電影臺詞）。一切都是混沌的、夢幻的、不清晰的，就如同女主角似乎也不清楚在她的眼中室友到底是商店裏擺放的人體模特，還是一個真實的人。色慾讓人迷亂與無知，它導致了謀殺。是妒嫉，還是憎恨，抑或是兩者兼有？老實說，我對這部電影一知半解。但是格裏耶超現實主義的創新意識，使他的電影中一個一個具有實驗性質的瞬間和意象非常吸引人。這是一部獨特、個性、古怪的藝術電影。
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