The philosophical stance of the heroine ("O" stands for obedience? object? orifice?) is undoubtedly a little severe and off-putting for the average let's-have-a-ball skinflick audience; but if the movie version of the notorious Pauline Reage novel sends titters through that audience, the blame goes mainly to the moviemaker's timidity. Just Jaeckin, a former fashion photographer, is able to maintain, even in moving pictures, a still-photo's frozen perfection, and the result is something like a pornographic Revlon ad. That quality accounts for the movie's languid, nearly lethal pace. If the music by Pierre Bachelet were ever to subside, there would be no other force to push you through the ordeal. Corinne Clery, Udo Kier. (1975) — Duncan Shepherd
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