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Going Places

Going Places

Comedy · Drama · 1974

Two whimsical, aimless thugs harass and assault women, steal, murder, and alternately charm, fight, or sprint their way out of trouble. They take whatever the bourgeoisie holds dear, whether it’s cars, peace of mind, or daughters. Marie-Ange, a jaded, passive hairdresser, joins them as lover, cook, and mother confessor. She’s on her own search for seemingly unattainable sexual pleasure.

Movie details

Going Places

1974 Comedy · Drama 1h 57m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Two whimsical, aimless thugs harass and assault women, steal, murder, and alternately charm, fight, or sprint their way out of trouble. They take whatever the bourgeoisie holds dear, whether it’s cars, peace of mind, or daughters. Marie-Ange, a jaded, passive hairdresser, joins them as lover, cook, and mother confessor. She’s on her own search for seemingly unattainable sexual pleasure.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Going Places?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Bertrand Blier

Written by

Bertrand Blier · Philippe Dumarçay

Gérard Depardieu

Gérard Depardieu

Jean-Claude

Miou-Miou

Miou-Miou

Marie-Ange

Patrick Dewaere

Patrick Dewaere

Pierrot

Jeanne Moreau

Jeanne Moreau

Jeanne Pirolle

Christian Alers

Christian Alers

Henri, Jacqueline's father

Brigitte Fossey

Brigitte Fossey

Woman on the train

Michel Peyrelon

Michel Peyrelon

Bruno, surgeon

Court is in session

Put Going Places on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.