Traitement de choc

The curse of French cinema: as it is (heavily) subsidized, people with really original ideas get to shoot them while they are either not necessary talented directors, or not being challenged enough for the ideas to blossom into a great feature.

Shock Treatment is a perfect example. The premise, the synopsis are exciting aplenty, but we only get a pedestrian rendition of it. Basically, apart from the view of Belle-Ile, you would almost be better off reading the summary of the movie instead of sitting through this piece of monotonous movie-making.

Watching movies from the 70s can be an anthropological exercise. For instance, in those faraway times, people did not wear safety belts in cars. In fact they even sat on the rear body of convertibles.

They also bathed naked and we were allowed to see both male and female naked bodies, even getting glimpses of Delon's jewels.

With all this in display the plot take back stage, also because by now we saw it many times already. Girardot is a rich businesswoman who wants to ty a rejuvenating, expensive and secret treatment in a creepy clinic by the sea (nice landscape, though).

Delon is the mysterious doctor who manages the clinic. Add the Portuguese young members of staff who disappear one by one, do the math and you'll probably guess what's going on long before Girardot.

Alain Jessua has made some of the most disturbing movies of a generally tame French cinema (mainly in the seventies and early eighties unless some "avant-garde" drivel like "themroc" counts). Barely ten movies in almost forty years.His best works are to be found between 1972 and 1982,his most fruitful decade which begins with "traitement de choc" and encompasses forgotten works such as "les chiens " "Armaguedon" and "paradis pour tous" . "Traitement de choc" is his towering achievement though:and not only because Delon and Girardot are completely naked for one sequence by the sea .There's much more substance to find here.The core of movie is the fear of dying ,and when you see so many people worship their body today,you cannot deny this flick was ahead of its time.

In a strange clinic , doctors Delon and Duchaussoy make people look younger ,thanks to animal cells.That's what they say.Their patients set up a small community of happy few .Girardot who has been ditched by her partner and who comes to think she begins to get old enters the place.Little by little,strange things happen:a lot of the staff (migrant workers) are sent back home because they've got the homesick blues.That's what they say.One of her friend commits suicide because he was broke and could not afford this luxury anymore.That's what they say.The tension increases and in the last fifteen minutes ,"traitement de choc" becomes a true horror film.(One should note it was made the same year as "Solyent Green").

"Traitement de choc" is the selfishness of the bourgeoisie ,the power of money,the eternal dream of perpetual youth which haunts all of us ,man's exploitation of his fellow man (in every sense of the term)."Shock therapy" indeed.

Unbelievable story and an AWFUL music. But I give it 4 points because Alain Delon's face makes it possible to watch this ridiculous film

38-year-old businesswoman (Annie Girardot), healthy but exhausted from work, takes the advice of her gay friend and checks into a rehabilitation spa overlooking the ocean. The institute specializes in living cell therapy, the menu consists of seaweed dishes, and a notice on the wall claims "your physical posture reflects the state of your psyche". It all looks good from the outset, but the new arrival's first hint of trouble comes while observing the frightened staff, the other clients, and even some of the locals, all of whom behave strangely...and then her gay friend maybe/maybe not commits suicide after warning her about the clinic's "monstrous horrors". French-Italian co-production, an early precursor to the For God's Sake, Get Out! Thriller genre, has been expertly-crafted for the most part by director and co-writer Alain Jessua, though one does wish the heroine made more sense as a character (she's sleeping with power-mad head honcho Alain Delon one minute and spying on him the next). Still intriguing, with rueful finish. *** from ****