Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his ... See full summary »
Clint Ramsey has to leave his job working at Martin Bormann's gas station and flee after his wife is murdered by psycho cop Harry Sledge, who tries to pin the murder on Clint. Crossing ... See full summary »
Lawrence and Freddie are con-men; big-time and small time respectively. They unsuccessfully attempt to work together only to find that this town (on the French Mediterranean coast) aint big... See full summary »
Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own. Written by
Ed Sutton <firstname.lastname@example.org>
Lead actress Tura Satana, legally owned her likeness and image. So, whenever Russ Meyer wanted to change the artwork or re-release the project, he had to get her permission and sometimes pay her all over again. See more »
In the beginning of the movie, when Billie detours to go to the lake, the front driver's side wheel cover is missing, and looks like some minor front end damage in the same area, which can be seen when she pulls up and stops next to the bush at the lake. Later on in the film, the wheel cover is present and there is no damage to the car. See more »
You're a beautiful animal... and I'm weak, and I want you.
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The tendency to dismiss Russ Meyer's "Faster, Pussycat! Kill! Kill!" (1965) as just a cult classic is probably due to the most memorable feature of the film, the girls. First there are the two quintessential Meyer women, Tura Satana and Haji, towering brunettes with enormous breasts who dominate all the men around them; or at least Satana does, Haji's character (with a strange Italian-Mexican accent?) is more focused on Satana than on men. They actually come across as a feminist empowerment fantasy, which is consistent with Meyer's almost exclusive career focus on situations in which women wreak their will upon men.
If they are too extreme for your tastes there is blonde free spirit Lori Williams and air-headed sweet young thing Susan Bernard. While arguably the two prettiest women to have ever graced a film, there is no argument that William's character is the sexiest of all time. Interestingly, it was the sweet-faced Bernard who became a Playboy centerfold just a few months after the movie (December 1966).
But "Pussycat's" greatness comes from the visceral power of Meyer's unusual images (can you say Fellini). Add to this abundant humor, inventive camera angles, fast pacing, clever editing, violence, and a generally amoral cast of characters.
The film gets even better with subsequent viewings, you connect better with the twisted dialogue and the wry humor.
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