Guilty PleasuresDiabolique (Les Diaboliques), 1955, Henri-Georges Clouzot, France

At a seedy French boarding school, the unsatisfied wife (Vera Clouzot) and restless mistress (Simone Signoret) of the slimy headmaster (Paul Meurisse) drown the creep in the bathtub and dispose of his body. Brutal, efficient and final—until evidence starts to mount that the dead man is haunting the school. As a kid, I was avid to see Diabolique after reading a Newsweek review that gave the movie’s moral as “You can lead a corpse to water but you can’t make it sink.” I think I found the school’s fetid atmosphere, the long, underlighted hallways, the main characters’ sourness and cynicism nearly as scary as the film’s famous climax, in the bathtub where it all began. The movie asked its audience, “Can you be scared to death?” For one impressionable child, this, one, the answer was almost literally yes. To beg my parents to take me to a French film, and then, coming home, to beg them to leave my bedroom door open and the hall light on, just shows you how pretentious and naive an 11-year-old could be.
Next: School Girl, 1971, David Reberg, U.S
Guilty PleasuresSchool Girl, 1971, David Reberg, U.S

This is, be warned, a Really Guilty one. But what’s the point of Guilty Pleasures if there’s no guilt involved? Listen, folks: one reason that a critic, like anybody else, goes to movies is to see beautiful people doing naughty things. In a word: sex! So flash back to the early 70s, when porn was briefly chic, and its makers fearlessly tested the bounds of legal behavior. Back then, hardcore had a naive vitality. It also produced a mini-masterpiece, School Girl, directed (pseudonymously) by San Francisco’s Paul Gerber and starring the sweetly enthusiastic Debra Allen as a college student researching a paper on local subcultures. She chooses the swinger scene, which leads to a half-dozen specialty numbers: boy-girl, girl-girl, group grope. In the most intriguing scene, a lithe young woman “directs” an erotic encounter with her husband and Debra. As firm and bossy as any auteur, the woman finally joins the deux to make a ménage à trois. It’s a funny, telling comment on how directors bring an audience’s gamiest desires to life, and on how power helps define any human relationship. But School Girl is also, ho-boy, sexy—or it wouldn’t be a guilty pleasure, would it?
Next: There's Something About Mary,1998, Bobby and Peter Farrelly, U.S.