Introducing Going Places (1974) – A Comprehensive Overview

A Provocative French New Wave Classic

Going Places (French: Les Valseuses), released in 1974, is a French comedy-drama directed by Bertrand Blier, adapted from his own novel of the same name. This audacious and controversial film, starring Gérard Depardieu, Patrick Dewaere, and Miou-Miou, is a landmark of 1970s European cinema, blending irreverent humor, social critique, and raw sexuality. Known for its anarchic spirit and unapologetic exploration of taboo themes, Going Places captures the rebellious ethos of its era while pushing boundaries with its provocative content. This article offers a comprehensive look at the film’s narrative, cast, production, themes, reception, and enduring legacy, providing insight into why it remains a polarizing yet influential work.

Synopsis: A Journey of Mischief and Rebellion

Going Places follows the misadventures of two aimless, amoral drifters, Jean-Claude (Gérard Depardieu) and Pierrot (Patrick Dewaere), as they roam the French countryside in search of thrills, pleasure, and freedom. The film opens with the duo committing petty crimes, including stealing a purse and harassing women, setting the tone for their reckless and carefree lifestyle. After stealing a car from a hairdresser, they encounter Marie-Ange (Miou-Miou), a seemingly apathetic young woman who becomes their companion and occasional lover.

The trio’s journey is episodic, marked by a series of outrageous encounters. They seduce, steal, and charm their way through various situations, from robbing a store to helping a recently released prisoner, Jeanne (Jeanne Moreau), experience fleeting joy before her tragic end. Their actions oscillate between playful and cruel, reflecting their disdain for societal norms and bourgeois values. As the film progresses, their pursuit of hedonistic freedom is complicated by moments of vulnerability and unexpected tenderness, particularly in their evolving relationship with Marie-Ange.

The narrative defies conventional structure, embracing a picaresque style that mirrors the characters’ aimlessness. Going Places culminates in a surreal and ambiguous ending, leaving viewers to grapple with the moral and philosophical implications of the trio’s journey.

Cast and Performances: A Star-Making Ensemble

The cast of Going Places delivers electrifying performances that anchor the film’s chaotic energy. Gérard Depardieu, in one of his breakout roles at age 24, plays Jean-Claude with a mix of brute charisma and roguish charm. His physicality and commanding presence made him an instant star, embodying the film’s raw masculinity while hinting at an underlying insecurity. Patrick Dewaere’s Pierrot complements Depardieu, bringing a wiry intensity and emotional depth to the more sensitive of the two drifters. Their chemistry drives the film, capturing the volatile camaraderie of their partnership.

Miou-Miou, as Marie-Ange, is enigmatic and captivating, portraying a woman who is both detached and quietly rebellious. Her understated performance conveys a complex inner life, making her more than a mere object of the men’s desires. Jeanne Moreau, a French New Wave icon, delivers a poignant cameo as Jeanne, infusing her brief role with heartbreaking gravitas. The supporting cast, including Brigitte Fossey as a young mother and Isabelle Huppert in an early role as a teenage runaway, adds texture to the film’s sprawling narrative.

The ensemble’s willingness to embrace the film’s provocative material—often involving nudity and explicit scenes—underscores their commitment to Blier’s vision, contributing to the film’s raw authenticity.

Production: A Bold Vision in 1970s France

Directed by Bertrand Blier, the son of actor Bernard Blier, Going Places was a daring sophomore effort following his debut, Hitler? Don’t Know Him (1963). Co-written with Philippe Dumarçay, the screenplay adapts Blier’s 1972 novel Les Valseuses (a French slang term for testicles, reflecting the film’s brazen tone). Produced on a modest budget, the film was shot on location across France, capturing the gritty realism of rural and urban settings. Cinematographer Bruno Nuytten’s naturalistic lighting and fluid camera work enhance the film’s spontaneous, almost documentary-like feel.

The soundtrack, composed by Stéphane Grappelli, features jazzy violin melodies that underscore the film’s whimsical yet subversive tone. Blier’s direction blends French New Wave influences—such as improvisation and nonlinear storytelling—with a distinctly 1970s sensibility, marked by sexual liberation and anti-establishment fervor. The film’s explicit content, including scenes of sexual assault and nudity, was deliberately provocative, challenging censorship norms and sparking debates about artistic freedom.

Production faced challenges due to its controversial nature. Distributors were hesitant, but the film’s eventual release by CAPAC and Union Générale Cinématographique capitalized on the rising stardom of Depardieu and Dewaere. Its premiere at the 1974 Cannes Film Festival, though not in competition, generated buzz, cementing its status as a cultural lightning rod.

Themes and Symbolism: A Critique of Society and Masculinity

Going Places is a multifaceted exploration of freedom, rebellion, and the absurdity of societal norms. At its core, the film critiques the hypocrisy of bourgeois values, portraying Jean-Claude and Pierrot as antiheroes who reject conformity in favor of hedonistic anarchy. Their criminal acts, while reprehensible, are framed as a rebellion against a repressive social order, reflecting the countercultural spirit of the post-1968 era in France.

The film’s treatment of gender and sexuality is its most contentious aspect. Critics have described it as misogynistic, citing the protagonists’ harassment and assault of women as glorifying toxic masculinity. However, Blier’s intent appears more satirical, exposing the absurdity and destructiveness of unchecked male desire. Marie-Ange’s arc, in particular, challenges traditional gender roles, as she evolves from a passive figure to one who asserts her own agency.

Symbolically, the open road represents the characters’ elusive quest for freedom, while their constant movement underscores the futility of their rebellion. The film’s humor, often dark and absurd, serves as a coping mechanism for existential despair, aligning it with the nihilistic undertones of European art cinema. Jeanne Moreau’s tragic subplot introduces a meditation on mortality, contrasting the protagonists’ youthful recklessness with the inevitability of loss.

Reception and Controversy: A Polarizing Milestone

Upon its release on March 20, 1974, Going Places divided audiences and critics. Some praised its bold humor and subversive energy, with French critics like those at Le Monde noting its reflection of a changing cinematic landscape. Others, including Roger Ebert, found it “truly cynical,” despite acknowledging its charm and Moreau’s affecting performance. The film’s explicit content and perceived misogyny drew ire, particularly in the U.S., where it was released with an X rating, limiting its distribution.

In France, Going Places was a commercial success, grossing over $5 million and attracting 5.9 million admissions, making it one of the year’s top films. Its international reception was mixed, with European audiences more receptive to its provocative tone than American viewers, who found its amorality alienating. Over time, retrospective reviews have been kinder, with critics like Pauline Kael describing it as “an explosive, like a comic assault on propriety.”

The film’s controversy stems from its depiction of sexual violence and casual cruelty, which some argue glamorizes harmful behavior. Defenders, including filmmaker James Gray, view it as a satirical critique of masculinity and societal repression, emphasizing its artistic merit. The debate continues to shape its legacy, with modern viewers on platforms like Letterboxd praising its performances while grappling with its ethical implications.

Cultural Significance: A Product of Its Time

Going Places is a quintessential artifact of 1970s European cinema, embodying the era’s fascination with sexual liberation, anti-authoritarianism, and existential questioning. It emerged during a period of social upheaval in France, post-May 1968, when filmmakers were challenging traditional narratives and embracing bold experimentation. The film’s raw energy and refusal to moralize align it with contemporaries like A Clockwork Orange (1971) and Last Tango in Paris (1972), which also tested societal boundaries.

The film launched the careers of Depardieu and Dewaere, cementing their status as icons of French cinema. Its influence can be seen in later buddy comedies and road movies, though few match its unapologetic audacity. Going Places also reflects the evolving role of women in cinema, with Miou-Miou’s performance paving the way for more complex female characters in Blier’s later works, like Get Out Your Handkerchiefs (1978).

Modern audiences approach the film with a dual perspective: admiration for its craft and discomfort with its problematic elements. Its availability on platforms like Kanopy, Tubi, and Apple TV has introduced it to new viewers, who engage with it as both a historical document and a provocative work of art.

Legacy and Availability

Going Places remains a touchstone of French cinema, celebrated for its fearless originality and criticized for its moral ambiguity. Its Blu-ray release by Cohen Film Collection in 2022, praised for its restored visuals, has revitalized interest, with reviews noting its enduring shock value. Academic analyses and fan discussions on platforms like MUBI highlight its place in the French New Wave’s legacy, alongside the works of Godard and Truffaut.

As of May 2025, Going Places is available for streaming on Kanopy, Tubi, and Apple TV, with rental and purchase options on platforms like Amazon Prime Video and Moviefone. Its accessibility ensures that it continues to provoke, entertain, and challenge audiences worldwide.

Conclusion: A Wild Ride Through a Rebellious Era

Going Places (1974) is a film that defies easy categorization, blending comedy, drama, and social satire into a provocative tapestry. Bertrand Blier’s direction, coupled with the magnetic performances of Depardieu, Dewaere, and Miou-Miou, creates a visceral portrait of rebellion and desire. While its controversial elements spark debate, its artistic boldness and cultural significance are undeniable, marking it as a defining work of 1970s cinema.

For those willing to confront its complexities, Going Places offers a thrilling, unsettling, and unforgettable journey—one that captures the spirit of an era while posing timeless questions about freedom, morality, and the human condition. Whether viewed as a scampy sex comedy or a biting critique of society, it remains a film that goes places few others dare to tread.