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|Index||74 reviews in total|
One of Meyer's best is this classic gothic melodrama biker chicks movie about a trio of bad-ass go-go dancers. Full of great dialogue and a true trash sensibility that inspired John Waters-it is a treat for those with more esoteric tastes.
My main fascination with this film is not the acting or plot, most is definitely drive-in stuff, but the fact that Russ Meyer dared to portray women as openly aggressive (ie., like men). In a UK interview, he admitted that he wrote the characters as that's the way he liked them: strong women turned him on. It's a wonder this film wasn't totally banned in 1965. But I'm glad it wasn't. Tura Satana has some wonderful lines
*** This review may contain spoilers ***
Before picking up a boxset of his films in the Christmas sales last
year,I had heard about 2 Russ Meyer movies,due to both of the titles
later being used as the name for some bands,with Mudhoney being one of
the earliest bands from the Grunge sub-genre,and Faster Pussycat being
a Hard Rock band,whose music video for the single "Don't change that
song" was directed by Russ Meyer!.With having found Mudhoney to be a
great,southern-fried Drama,I decided to find out how wild Meyer's cats
Searching round for a place to do some test laps before a big race,Tommy and Linda are pleased to find a deserted desert area,that will give Tommy all the room he needs to run his test laps.Reaching the centre of the area,Tommy and Linda discover 3 parked up cars,that belong to a group of go-go dancers called Varla,Rosie and Billie.Attempting to politely introduce themselves,Tommy and Linda are instead pushed around by the gang,who tell Tommy that if he wants to prove the he is a "real man",then he must go against them in a race,right now.
Aggreing to the challenge,Tommy is left dazed and confused after the gang reveal their less than "traditional" driving skills.Taking advantage of the situation,Varla,Rosie and Billie grab Linda,and tell her that they are going to kidnap her,so that they can put Linda up for ransom.Rushing to save his girlfriend from being kidnapped,Tommy inadvertently runs into Varla's deadly karate chops,which lead to Tommy being left for dead,face down in the desert.
Filling Linda up with sleeping pills so that she keeps her mouth shut,the gang head to a peteral station,so that they can fill the cars up,and get of there with Linda as quickly as possible.Waiting for the peteral station guy to finish filling up the cars,the gang notice a fellow,wealthy-looking,wheel-chair bound customer being helped into a truck by the man's son.Keeping their interest under wraps,the girls ask the peteral station attendant if he knows anything at all about the man.
Taken by the girls sudden interest in local knowledge,the attendant tells the gang that the man lives in an isolated farm house with his two sons,and that their have been rumours going around the town for years that the man is sitting on a suitcase full of cash.Excited over the opportunity of grabbing more cash then she originally expected,Varla tells Rosie and Billie,that before they run off with their bounty in Linda,that it might be a good idea,if they pay this kind,wealthy old man a surprise visit.
View on the film:
Reuniting with co- screenwriter Jack Moran, (who wrote one of the last titles from Russ Meyer's "Nudie-Cutie" era with Wild Girls of the Naked West)co-writer/co-producer/editor and directing auteur Russ Meyer shows in his eye-catching stylised directing a tremendous skill in combining the cartoon style aspects of his Nudie-Cutie movies,with the Film Noir path that he is currently on,so that Meyer can create an unforgettably wild,cartoon-bonkers,deranged Film Noir.
Introducing each of the rough'n tumble amazonian women, (played by the splendid,and very easy on the eye's Haji,Lori Williams and Tura Satana) in a go-go dancing nightclub,Meyer bravely keeps away from building a "safe" centre-ground that the movie can relay on,to instead push everything contained within the film right to the edge of the sanity,with each of the actress's delivering their cracking dialogue with extremely over exaggerated pronunciation,which helps to create an irresistible animated atmosphere.
Keeping away from making any of the stunning girls mere 2D characters,Meyer shows a surprising amount of subtly in the way that he reveals the "true" relationship that Varla,Rosie and Billie have with each other,with the relationship between Varla and Rosie being one the is filled with glances that last just that bit too long,which become much more noticeably on repeat viewings of the film. (In an interview on the DVD,Haji mentions that Meyer did not give her the full details of Rosie's relationship with Varla until the movie had finished shooting,due to Meyer wanting the "true" meaning of their relationship to be one that was hidden from the suffice of the film.)
Along with the deadly kittens,Meyer and co-writer Jack Moran give the film a strong Horror element,with the old man,who the gang think they'll be able to steal a huge bundle of cash from,being revealed as not being a kind old man at all,but instead being one who is wicked,that also holds some pretty unsettling "family values" close to his heart,which lead to the gang having to risk everything that they have got,in the hopes that they end up becoming the cats who got all of the cream.
Who would know that the 60's could produce a movie so intense, that it will be a gemstone of a lifetime. In "Faster Pussycat! Kill! Kill!", it's a high octane thriller, that combines fast cars, fast moving women, and action that is non-stop. You have these three go-go dancers: Varla (Tura Santana), Rosie(Haji), and Billie(Lori Williams). They go out in the desert to unwind, until a couple appeared and they started to have a race. Well, the original three were racing their cars earlier in the scene, then Billie decides to have a swim. When the couple joined the scene, things began to get ugly. After the race, Varla and the boyfriend get into a fight, which resulted in his death. Then they drugged the girlfriend, and take her onto a ranch where this old man who was crippled in a railroad accident. The deadly trio do want something from him, his hidden money. But unknown to them, he is not so vulnerable period. For he got his own plans for them. The only thing is, they are not weak women. These women can fight, kill, or play very rough at all costs. No one is safe. This movie is about violent women, and not about domestic violence in the house hold. Of course, with the simple-minded brother, it's all about personal demons. Rev up your engines and see this movie. 5 stars
How ironic that perhaps Russ Meyer's best film should not include one
naked breast? This is not to say his penchant for the upper female
anatomy isn't on display, far from it: his main squeeze, luscious and
"Stallion"-like Tutra Satana shows more cleavage than two dozen
Victoria Secret commercials. But this time, even more so than Beyond
the Valley of the Dolls, Meyer focuses on his form, which is one of the
most fascinating things to experience in modern cinema. It hit its apex
here, and still showed itself fine in Dolls and under-seen Supervixens.
He's got a knack for natural balls-to-the-wall awesomely-bad comedy,
the likes of which are a brand of its own. At the same time he's also a
consummate professional, even arguably an auteur, who crafts his
pictures without the least bit of amateurish sloppiness.
Practically every image sparks and crackles off the screen clearly, and the editing makes it feel much more like a movie that came out recently than something well over 40 years ago (in fact Tarantino is rumored to remake it, which upon inspection of the original material is not a very good idea). What is Faster, Pussycat! Kill! Kill! *about* you might ask? Not very much in terms of real solid plot, actually: it's about a few hot-riding chicks (yes, I'll call them chicks, feminists) who ride around in their cars fast, drinking "hard" stuff, and wearing clothes that make some (i.e. old Republican in the wheelchair), and some other straight-laced guy and his chick come by in another car, and a race ensues and when the race is lost a fight breaks out, the guy is karate-chopped to death, and the rest of the girls high-tail it out of their to some farm where a rotten old man in a wheelchair and two sons (one a muscle-bound Spartan with two brain cells and a million times more brawn, the other just a regular "cute" guy Satara wants to have her way with) take them in reluctantly.
So just from that little description, you can see where this might go. But then again, you might not. This is such a classic that only real fans of this particular kind of trashy movie will be able to appreciate. Are there great performances? Depends on what you think of Satara with a voice that usually goes up to yelling level to get dramatic and often acts tough enough that Clint Eastwood might be liable to pee himself, while the big galut barely utters a word and one of the girls (the blonde one, I forget her name) usually dances and makes comments like "Me Jane, you Tarzan." But really, what's on display here isn't masterpiece theater: it's what the audience wants and wants so bad that they can taste it through their drive-in mirrors, their sticky low-rent theater seats, through their (unfortunate) bootleg DVDs.
This movie simply has, even by Russ Meyer standards, more intentional and/or unintentional comedy and more kick-ass take-no-damn-prisoners violence and not-really-X-rated sexual content than any other movie I can think of from its period. In its own right it's as influential as Night of the Living Dead, or from a more independent cinema perspective Cassavetes' Shadows. Not to compare them exactly, but what Meyer has here is something that breaks through: it's no longer just some B movie with really bad acting and a bad plot and dialog that could make people want to hang themselves. It's actually fantastic dialog and skillful and creative camera-work and editing that beat the pants off of most action films from the decade let alone 1965. In its own kind of way, with its fast cars and hot/mean chicks and un-apologetic stereotypes and outrageous language as cinema and with the writing, its a masterpiece. Whether or no you'll want to see it I leave up to your discretion... ah, hell with it, see it or be square! A+
*** This review may contain spoilers ***
If you take a look around the internet at all the reviews for Faster,
Pussycat! Kill! Kill! you'll undoubtedly see the movie examined from
every conceivable angle. You'll see some very learned people going on
and on about female empowerment or the impotency of man or other
similar topics. Don't worry I'm not going there. So leaving behind
all the sociological and psychological mumbo-jumbo, Faster, Pussycat!
Kill! Kill! is just one cool, wildly entertaining movie. Not plain old
cool, but uber-cool. This is trash cinema at its very finest. For me,
Faster, Pussycat! Kill! Kill! is about as straight forward as you can
get. It's a movie about three women, three cars, six breasts, the
desert, and a whole lot of violence. It doesn't get much simpler, or
better, than that.
There are so many things I want to say about Faster, Pussycat! Kill! Kill! that I don't really know where to begin. I guess I'll start with Russ Meyer. From the opening voice-over narration followed by the three larger than life go-go dancers, Meyer gets Faster, Pussycat! Kill! Kill! off to a kick in the rear sort of start. And he never lets up. Meyer keeps the images and pace coming fast and strong. After watching the movie, I'm amazed at what he was able to do with a budget that was probably less than what I spent on our last family vacation. Meyer uses his camera in a variety of unusual and surprising ways. I doubt I could think of a single angle he didn't use to shoot his three female leads. And Meyer filled the movie with some very interesting, almost ethereal, images. There are some shots of Varla during the race sequence with her hair blowing in the wind as she laughs with the utter delight of the situation that are like works of art. The fact that these close-ups are obviously stage-bound and the car is being rocked by some prop guys only adds to the surreal feeling. I've never seen anything quite like it.
Speaking of having never seen anything like it, there's nothing quite like Tura Satana, Haji, or Lori Williams. Once you've seen them, you'll never forget them. I can honestly say I was impressed with all three and not just with their obvious physical assets. Each gives a more than serviceable, realistic performance. Of the three, however, Satana stands out. Is there a single scene in which she appears that she does not totally dominate? From the ample cleavage to the straight jet-black hair to the make-up to the clothes to that man-eater attitude she's absolutely mesmerizing.
What else impressed me? Here's the quick list to save some time: the music (both the jazzy, "loungey" score that runs through most of the movie and The Bostweeds title track); the often unexpected outbursts of violence; the dialogue (Tarantino wishes he could write dialogue half this cool); and the whole 60s go-go feel to the movie. It's just about perfect!
Before Arnold Schwarzenegger, Stallone, Van Damme and Seagal, and
before Thelma and Louise, there was Varla, Rosie and Billie.
Russ Meyer, who peppered his "B" movie trash with big-breasted women serves up a cult classic with three buxom strippers driving fast cars through the desert in search of adventure. The ultimate power-woman trip with sex served up not as desire, but as power.
Tura Satana, who has been filling the screen with those humongous breasts for over 40 years, is a black-clad dominatrix that raises camp to an art form.
Haji, who wasn't going to waste her 38D's on any man, was her partner. They added blonde bombshell Lori Williams and they took off to raise mayhem and kill! You can't really appreciate the trash that was released in the 60s without seeing this one. What else are you going to do at 3am when you can't sleep?
Well, FASTER, PUSSYCAT! KILL! KILL! (1965) is the QUEEN of BAD MOVIES and a perfect example of a good DUMB FILM. Noted for its three chesty leads Tura Satana, Lori Williams and Haji, its classically "so BAD its GOOD" complete with sexploitive romps, drag racing, a lecherous old cripple, nubile innocent, musclebound moron, liquid eyeliner, and doped and drunk beauties. With a seriously implausible plot, grossly bad acting, and just enough sex and violence to keep you riveted, this film never takes itself so seriously that it spoils the cheesy fun. Simply put, FASTER, PUSSYCAT! KILL! KILL! is Sleaze Cinema at its most innocently amusing. Tura Satana, though no actress, is a sheer force of nature. It's wonderful to watch every character cower before her. I would like to say that the only thing bigger than this gal's cannons is her derrière, but alternately purring and roaring at friend and foe alike, the "biggest" prize would have to go to her mouth!
This is a very good movie. You have to be in the right "mood" to see
it. I started watching it 2 times and just turned it off. I'm about
half way through and I just stopped to read the good old IMDb on it.
I'm only trying to avoid the Anxiety of watching it. I'm not good at
watching Horror movies.
The Dialogue is second to none. Just the entendre is enough to keep me watching. The hot chicks are an added bonus to a mind altering experience. I'm just worried i'm missing out on more good movies like this. It basically starts the whole rob zombie thing. Also it defines a type of horror that seems to be sought after lately. Just wondering if there are any more movies like this out there. Early ones that are hard to find. And... how can I get them?
2 thumbs up!
It seems now that in Australia, finally some great cult movies are
being released to DVD. Although I've wanted to see it for years, I only
just saw Faster Pussycat, Kill Kill, and it's my first film by Russ
If they're all similar to this, I can't wait to see more. The storyline is pretty dodgy, and so is the acting, but if you're watching a movie called Faster Pussycat, Kill Kill, you are probably after a bit of weirdness and campy fun. With Faster Pussycat, that's exactly what you get! Everything is great about this movie as far as I'm concerned. It's aged considerably, but that is what makes it so great.
A must for any cult movie fan!
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