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  Supervixens Simply The ChestBuy this film here.
Year: 1975
Director: Russ Meyer
Stars: Charles Pitts, Shari Eubank, Charles Napier, Uschi Digard, Henry Rowland, Christy Hartburg, Sharon Kelly, John Lazar, Deborah McGuire, Deborah McGuire, Glenn Dixon, Haji, Stuart Lancaster, Garth Pillsbury
Genre: Comedy, Sex, Trash
Rating:  6 (from 2 votes)
Review: Supervixens marked Russ Meyer’s return to his colourful cartoon world of hapless men and giant-breasted ladies after a brief, unsuccessful foray into more serious subject matter with Seven Minutes and Black Snake. It was also the first film in which Meyer took sole writing credit, and he ups the sex-and-violence count while stripping the narrative right back.

Clint Ramsey (Charles Pitts) is a likable mechanic who just wants a simple life. Unfortunately his wife SuperAngel (Shari Eubank) is a jealous, insatiable tyrant who is convinced that Clint is having his wicked way with every woman he meets. After Clint and Angel have yet another blazing row, Clint decides to drown his sorrows; meanwhile, thuggish redneck cop Harry Sledge (Charles Napier) pays Angel a visit. Harry's inability to perform in the sack and Angel’s subsequent taunts lead him to kill her. With the finger of blame pointed straight at him, Clint hits the road for an eventful trip across country.

With far crisper production values than any of his trash contemporaries and a genuine talent for photography and editing, Meyer made films like no one else; ok, he frequently remade the same film, but Supervixens is about as entertaining as he got. Clint’s escape from the law is marked by a series of encounters with buxom, sex-mad girls, whose sexual advances inevitably get him into trouble with their boyfriends/husbands/fathers. There’s the Austrian milk-maid SuperSoul, who forces herself upon Clint in a barn, and deaf-mute SuperEula, whose crazed father chases Clint out of the county. Conversely, it's Clint's rejection of SuperCherry's lustful gropings that leads him to be beaten and robbed by her boyfriend. Finally, Clint finds love and contentment in the arms of good-hearted garage owner SuperVixen (Shari Eubank again), but a chance meeting with the murderous Harry Sledge once again threatens his happy life.

Despite Meyer's predilection for inventive, rapid editing, Supervixens isn't exactly hurried, and at 105 minutes is a bit long for a film with virtually no storyline. There aren't really any jokes, but there's something joyously juvenile (the brutal murder scene not withstanding) about the director's unrepentant enthusiasm for all things carnal. His taste for the surreal is in full flow here – Clint's boss is Nazi party chief Martin Boorman, and SuperAngel returns from the grave to copulate with a mountain top – while the great Charles Napier takes away the acting honours as the psychotic Southern lawman. And although the actresses were clearly hired for their bra-size and not acting ability, Shari Eubank's fiery performance as SuperAngel puts her alongside Tura Satana and Erica Gavin as premiere-league Meyer ladies. Also watch out for appearances from other Meyer alumni Haji and John Lazar.

[This film is available as part of a special edition 3 DVD box set of the Vixen Trilogy, with extras including featurettes, commentaries by the late Russ Meyer, and photo galleries.]
Reviewer: Daniel Auty

 

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Russ Meyer  (1922 - 2004)

American director and one of the most notable cult filmmakers of the 60s and 70s. Meyer worked as a newsreel cameraman during World War II, before becoming a photographer. In 1959, his work for Playboy led to his first film – the hugely successful ‘nudie’ feature The Immoral Mr Teas. Other soft-core features followed before Meyer moved to a series of trashy, thrilling B-movies – Mudhoney, Motor Psycho and Faster, Pussycat! Kill! Kill! – that combined the two elements – incredibly voluptuous women and graphic violence – that would become Meyer’s trademark.

Cherry, Harry & Raquel! and Vixen were more sexual and cartoonish, developing Meyer’s excellent visual sense and skilful editing techniques. Meyer made two films for 20th Century Fox – the bawdy satire Beyond the Valley of the Dolls (written by critic Roger Ebert) and the semi-serious The Seven Minutes, but their commercial failure led the director to return to his independent roots. Supervixens, Up! and 1979’s Beneath the Valley of the Ultra-Vixens were even more energetic, inventive and sex-filled than their predecessors, the latter proving to be the last film Meyer directed.

 
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