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|Index||78 reviews in total|
Three well-endowed strippers race! kill! and kidnap! - resulting in an
ample female foursome. Their "screenplay starts to unfold," according
to star Tura Satana (as Varla), when they meet up with old man in a
wheelchair Stuart Lancaster (as The Old Man) and his hunky son Dennis
Busch (as Vegetable). They want to find Mr. Lancaster's stash, and
check out "the lay of the land." Another son complicates matters and
relationships. There are some funny lines - like Ms. Satana mentioning
Christopher Columbus to a leering gas station attendant. The best part
is when Varla tries to pin Vegetable with her car. Ouch! A lurid trip.
**** Faster, Pussycat! Kill! Kill! (1965) Russ Meyer ~ Tura Satana, Lori Williams, Dennis Busch
Russ Meyer's "Faster Pussycat" has echoes of other, more popular films in its set-up and design, certainly in its overall impact--yet this picture is the precursor to those, and as influential cult flicks go, it still stuns today. Three bosomy go-go dancers hit the desert in their sports cars for a little rowdy, competitive fun; they later end up kidnappers involved in murder after befriending a car-enthusiast and his teenybopper girlfriend. The plot is so reedy and bare it may pass for existential (you can attach any number of psychological theories to it and feel vindicated by the finish). Meyer, who also devised the original story and edited the film, holds back a bit on the overt sex but really lets us have it in terms of kinetic appeal. The picture, shot in crisp black-and-white, bristles with tension and energy, and the characters are so compelling and astutely drawn that even the outlandish plot-devices Meyer throws in hardly come off as cartoonish. Viewers are led (some may say unwillingly) wherever this director chooses to take them, and you can practically hear Russ Meyer cackling from behind the camera. Not for all tastes, but adventuresome movie-buffs should feast on this for some time. **1/2 from ****
Three beautiful female dancers are driving through the desert when they
come across a young couple. They kidnap the woman and leave the man for
dead. Travelling further they come across an old man living with his
two sons. The old man is apparently sitting on a pile of cash and the
girls do their best to separate him from it.
Knowing Russ Meyers' later movies I wasn't expecting too much from this movie. Turned out to be a much better than I expected.
It has the hallmarks of Russ Meyer movies: incredibly beautiful women as the heroes (or main characters, at least), a trashy sort of feel and mediocre performances. However, here the usual random plot is replaced by a decent one. Is an interesting, gritty adventure and the characters are quite engaging. Hardly a dull moment, is paced well and doesn't overstay its welcome. Good fun.
Three strippers holding a young girl hostage come across a crippled old
man living with his two sons in the desert. After learning he is hiding
a sum of cash around, the strippers start scheming on him.
I am not as familiar with Russ Meyer as I should be. He is a legendary cult director, but I think I know him best for "Beyond the Valley of the Dolls". This one, however, is his signature film. It is well-known and has been referenced extensively by others (apparently more bands than other filmmakers!).
You can judge it and say it is cheesy or kitsch, but that is what makes it a cult film. The cinematography is crisp and beautiful, and the overall plot is excellent -- sort of female empowerment meets the old western.
Varla, Rosie and Billie are nightclub dancers with attitude. They go
out to the desert looking for trouble. They meet Tommy who wants to
drive the salt flats and his innocent girlfriend Linda. Varla kills
Tommy and they kidnap Linda. They drive onto the property of an old
cripple and his muscle-bound slow-minded son, the Vegetable. They
supposedly is hiding a money stash. The old man is interested in Linda
who manages to escape. She's picked up by Kirk but he turns out to be
the old man's son. He brings her back despite her loud objections.
This is super camp. There is real bad acting. The line delivery by the girls is horrendous. Russ Meyer picked them mostly for their giant double assets. The fake laugh is laughable. Sue Bernard never stops screaming. Paul Trinka is forced to be dumber than the Vegetable and he's horrible at it. The writing is a mix bag. At times, it's painfully bad. At other times, it is pure cheese heaven. Overall, it is surprisingly watchable and awkwardly hilarious.
What I've heard Russ Meyer is known for nudity on his films but this is
different and that's why I like it.
I'm the kind of man who thinks revealing skin and sex scenes belong to only XXX-movies. Other kind of sexiness is always a really welcome additional spice and this movie has just the right tingling hot taste. Really stylish, light hearted, black and white movie with tons of attitude, girl power and some old cars too. Acting can be cheesy at some points but that doesn't do the movie any harm; in the matter of fact I'd call it fitting in quite well.
Faster, Pussycat! Kill! Kill! has some really special charm and became one of my favorite movies during the first 15 minutes! I rarely rewatch even the movies I really like just for my own entertainment but this one has the potential and definitely requires a Blu-Ray purchase in case DVD quality doesn't make it enough justice.
Despite being quite light-minded, I have a weird feeling of this movie deserving 10 after few replays but that's yet to be seen! (Sadly other Russ Meyer's movies might not be for me because of their nudity but hopefully there are other movies somewhere hitting the right spot.)
As a conclusion, all I can say is: Anyone even potentially liking old films should watch it. This movie is quite light hearted and barely has anything offensive (but maybe don't show it to some 12-year-olds without previewing it first). Got nothing to lose, right? So do yourself a favor. If you're anything like me, you will surely be delighted for stumbling upon this rather unknown movie- gem and even a potential master piece of some sorts ^__^
PS. This was a first movie giving me the spark of writing a review so any kind of feedback is welcome, thank you!
*** This review may contain spoilers ***
The cult of Russ Meyer had its heyday back in the late 70's and 80's
when his work was embraced by people as different as John Waters and
Roger Ebert, who championed his sex and violence epics as works of art
with far greater depth and meaning than their sleazy appearance. It
seemed that Meyer's trash was as profound as the serious work of
But that was a long time ago and the culture has come a long way since then. As a kid, I remember VIXEN and HARRY, CHERRY, and RAQUEL playing at local theaters, but alas, I was far too young to see them. And as I have gotten older, I have learned that nothing ages faster than what was pushing the envelope yesterday.
Only recently did I have an opportunity to finally see FASTER, PUSSYCAT! KILL! KILL! and I can say that while it shows its age, there is much about the film that still holds its own.
What makes FASTER, PUSSYCAT! look like a senior citizen: the clothes for one thing; Billie's miniskirt, Tommy's plaid shorts and Linda's bikini all scream 1960's. But more to the point, it is Meyer's leering, dirty old man point of view that makes FASTER, PUSSYCAT feel not only dated, but absolutely ancient. The way he asks us to pant at the sight of these bad girls gone completely out of control reeks of an era when Hugh Hefner was the epitome of hip and daring.
What makes FASTER, PUSSYCAT! still have punch: it's depiction of a world devoid of morality and goodness, where almost all the characters are murderous and lecherous; where the only innocent person, Linda, is constantly beaten and victimized by the three go-go dancing amazons or the old man and his mentally damaged son. In this way, FASTER, PUSSYCAT! beats NATURAL BORN KILLERS to the punch by a good thirty years.
Meyer got terrific performances out of his actors and actresses that still hold up, especially six foot plus Tura Satana as Varla, the leader of the three bad ass women on a rampage in the desert. Varla, who karate chops Linda's boyfriend to death early in the film, is one of the cinema's all time great female villains, a character with no redeeming attributes beyond the obvious physical ones. She is matched all the way by Lori Williams's Billie, whether she's taking a shower outside under a water tank, getting drunk at lunch or throwing down with Haji's Rosie. And Stuart Lancaster perfectly captures the Old Man's pathetic situation as well as his vileness.
And Meyer had a keen eye for the action that was as unique as his gander for the female form; just look at the scene where Varla tries to crush the muscle bound Vegetable with her car, there's nothing quite like in any other movie.
To answer my question, yes, FASTER, PUSSYCAT! KILL! KILL! holds up pretty well, kind of like an old Ford Mustang whose paint is chipped and fender's dented, but whose motor still purrs like a pussycat.
*** This review may contain spoilers ***
Three big-breasted sports car-driving go-go dancers go on a weekend
murder spree in the desert. What could be more wholesome! Early on, the
female trio meets their first victim, Tommy (Ray Barlow), and his
overly-perky girl (Sue Bernard) who is so relentlessly whiny one almost
hopes she gets clocked. But after she witnesses Tommy being rolled in
the dirt to death, Varla and company have no choice but to take the
bikini-clad youngster as their hostage. And there are big breasts.
Big bad Varla (Tura Satana) is decidedly bi-sexual and clearly the head of the group; and what she says goes! Lori Williams (Billie) makes Nancy Sinatra look like Miss Marple by comparison, with hips that arrive five minutes before she does. Haji(Rosie), we later gather, is Varla's lover (a fact the actress herself was not aware of until she questioned director Russ Meyer regarding her motivation for a particular scene). Poor Haji has to speak all her lines using a ludicrous Italian accent and over-emphasized hand gestures; it's no wonder she never laughs or smiles during the entire film! She gets to spit out lines like "I'mma gonna spinna dry you!" And there are big breasts.
Billie and Rosie don't like each other and are constantly at each others...throats, forcing macho Varla to be the peace officer. But while gassing up, the girls learn of a big stash o' cash on a decrepit ranch run by a warped old fossil (Stuart Lancaster) and his two sons Kirk (Paul Trinka) and 'The Vegetable' (bodybuilder Dennis Busch). With nothing but time (and men) to kill, the girls decide to dig around for the hidden loot. In the process the ladies wangle an invite to lunch with the boys, but little miss bikini keeps gumming up the works by trying to escape. And there are big breasts.
The bodies soon begin to pile up, but Busch will live on to garner a cover of Muscle Training Illustrated in 1966, and the whiny bikini gets saved so she can go on to be Playboy Playmate Of The Month in December that same year. The acting and action are both laughable, but to complain about such things is like going to Disney World to admire the restrooms. Did I mention there are big breasts? This is the type of film for which the term Guilty Pleasure was coined. Just enjoy becoming abreast of the situation.
*** This review may contain spoilers ***
The things in this movie that strike me most are: the six guitar
strings in the beginning which vibrate as the human voice delivers the
top news of the world (weird); the camera angles (in "drunken master"
style); the jazzy/funky music that goes nuts now and then (very
refreshing and exhilarating); Varla's vile face expressions (plain
menacing and sophisticated), tight gloves (ready for battle!), and her
evil bursts of laughter (quite hellish); the hysterical behaviour of
the kidnapped girl who even before her boyfriend's grisly death is
lunatic (careless in a most childish manner); the goofy gas station
attendant nicknamed "Einstein" ("Do and think little but talk volumes,
especially about other people's secrets!" must be his motto); the way
The Vegetable "gives" the knife to Rosie (what does she expect from the
highly controversial and unstable knot of muscles? "Here you are, take
it, please"?); the simplicity of the whole production (a few
characters, minimum sets, almost no special effects, the stunning b&w
The greatest disappointment (the major spoiler ahead!): the three heroines all die in the course of the movie. That is unfair. They are too groovy and too busty to die. They should have killed off every other character in this flick and survive, walking away in the sunset with the smoking guns, bloody hands, and swaying hips. How could the director be so cruel to this trio that remains the best female criminal gang to ever hit the screen? The technical side of the film is superb. Hardly anybody could make it better. The WWII did not pass in vain for Mr Russ Meyer, that's for sure.
A 7 out of 10 (because of "the greatest disappointment" - minus 3 points, alas). Thanks for attention.
Grindhouse At Its Best! I've only recently gotten into Russ Meyer films
and I find him to be one of the most underrated screenwriters ever. His
films are a lot more than just sex and violence. Sure there's plenty of
it. But it's done within the context of original characters and
gripping stories that keep you hanging on to every last scene.
One forgotten aspect of the grindhouse genre is the lack of profanity. While 1965 standards didn't allow four letter words Russ Meyer out smarts the sensors by proving just how imaginative he can be with sexual innuendos and dirty insults. Much like Frank Miller comics. It's much more imaginative than just the same old, "F you mother effer." The plot: Three bad girl beauties Varla, Rosie, and Billie are on the hunt for trouble in the deserts of the South West.
After drag racing a couple, Varla beats the boyfriend to death just for kicks, and the trio keep his innocent girlfriend as their new plaything.
A gas station attendant tells the girls about an elderly man "The old Man" whom recently got a huge cash settlement from the railroad after an accident left him paralyzed. The girls drive out to his desert ranch looking for a big and easy score.
What they don't know is The Old Man lives with his two slow witted sons the peaceful Kirk and the dumb ox Vegetable. Ever since being paralyzed the family has been picking up pretty girls to murder for fun.
It's the bad girls versus the psycho guys! Each thinking they're smarter than the other by pretending to be something they're not.
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