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I loved "Faster, Pussycat! Kill! Kill!" from the beginning, together with its three great main actresses Haji, Lori Williams, but especially the outstanding Tura Satana. The film tells the story of three exotic dancers, who become outlaws, drive fast cars, wear provoking clothes and cheat and beat up men. The only not typical thing about this movie is, that none of the chicks has a nude scene, what is really a pity! On the first view, Russ Meyer´s flick is nothing else but a funny piece of trash from the swinging 60s. But on the second it´s a portrait about the power of female sexuality on men. The sex characteristics differ from the usual stereotypes: the male are the victims, the women are the offenders, who apply their "weapons" unscrupulous to reach their aims. Also they are physically stronger and more cunning than the naive guys in this film. Especially Varla becomes a sexy, but immense violent murder machine and that makes her being one of the most frightening women in the history of cinema! But "Faster, Pussycat! Kill! Kill!" is more than that: it´s a piece of modern art, every lover of real cult movies or pop art should have seen it! (8/10)
While there are some who argue that it is a pro-feminist flick with
lots of social significance, truth is FASTER PUSSYCAT KILL KILL is a
very deliberately made bit of ultra-drive-in trash, a movie that
glories in all things low-brow, low-rent, and low-neck lined. And it
has a cast that makes up for their collective lack of talent with lots
of attitude and lots of cleavage.
The story is as hooty as the cast. Tura Satana, she of the lethal chest, leads minions Haji and Lori Williams away from the grind of their jobs at the go-go joint and out into the desert. They race their cars. They wrestle in the water and then in the sand. They dance the watusi. They bump off this guy who shows up wearing plaid shorts. (Given his attire you might read this as a mercy killing.) Then they set their sights on an old lech and his dum-dum sons, hoping to make away with their money. Faster Pussycat indeed! The script is deliberately absurd, with an emphasis on memorable one liners that try to out-cliché all known clichés. But the real attraction here are the "pussycats." It isn't often that you see a 2D movie with 3D effects, but that's exactly what happens when Tura, Haji, Lori, and their six talents hit the screen. These are three big-busted, nip-waisted women with evil attitude, and they sneer, snarl, snap, and slither around the screen with all the aplomb of trailer park drag queens gone bad. It's more "tacky cool" than a 1965 plastic jewelry box explosion.
Now, how much you like this sort of thing really depends on how warped your sense of humor is. Cheap though it is, the thing is remarkably well done, and taken in the right way the combination of trailer-park chic, retro-hysteria, and ultra-attitude is a lot of fun... and when the pussycats hit the screen you may think you're about to get a black eye, and I don't mean from their fists! Breakout the popcorn and some protective glasses: Tura and the Pussycats are coming at ya! GFT, Amazon Reviewer
Please, take it from one who, until tonight, foolishly and ignorantly
pigeonholed Russ Meyer as a Grade-B Soft-Core cult hero. What did I
know? He's so much more than that. Think really good John Waters
crossed with really bad Fellini (which is good, of course, in its own
way) and you have just a hint of the inspired wickedness here.
Three mean chicks in sports cars, on a road trip from hell, back in a blistering hot, black-plate California desert. The script is undisguised genius and the performances (particularly, of course, the sadistic, sneering Tura Satana) cross most known bounds. But you know what? Even with that firebrand in the lead, the others hold up incredibly well. Meanwhile, the cinematography is spot-on for the theme here, tilted and trenchant. The overall effect: bracing--blinding, almost--and more than a little surreal.
FASTER, PUSSYCAT KILL! KILL! It's hideous and hip. Nightmarish, and nasty. Scathing and scabrous. Insane, but inventive. It's not a film for everyone. Some will call it sick, some will dismiss it as camp. It's all that and more. Hardly a wrong note, and with *so* many opportunities too... I was glued to the screen from beginning to end. Wicked fun. Captivating. Can you tell I liked it?
PS: Also recommended for fans of NHB, male/female bare-knuckle boxing. You know who you are ;)
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.
Expectations were very high when watching this, but its not Russ Meyers
best. The superwoman are tough as nails or as a velvet glove dipped in
iron as they say, almost all lines of the movie is memorable, Tura
Satana and co shouts them out in the coolest fashion and this makes up
for the strongest feat of the movie. I promise you'll laugh more than a
few times by them..
Its cousin 'Motorpsycho' however was more accomplished than this was. The story doesn't have as much potency (no pun), the girls are good, but not all that and the absurdity reached in 'Supervixens' and 'Motorpsycho' is not reached here.
Its still a campy classic though.
All men are boobs. All women have two. Other than that, Russ Meyers didn't bring much to this picture. But then he never did. Meyers never created movies. His focus was shock. Find something weird; surround it with anything. In this movie, Meyers takes four well-endowed females and makes them mean. Well, one is stupid and likes to cry and run away. The other three are mean for no reason to everybody. Even when they are trying to trick people, they are mean. The bodies look great. The faces are hard. The minds are psychotic. Most comments go overboard about how beautiful these women are, but in truth, if you saw these women on the street, they should send you running. Even the stupid one looks psycho enough to make you hide the steak knives before you go to sleep. Meyers successfully ensures that the plot does not get in the way of the action. Great movie if you like angry women with large breasts, loser men who deserve to die and a gas station attendant who must be the crazy uncle of Goober and Gomer Pyle.
Woo-hoo! For as long as I showed interest for eccentric cinema, I
anticipated this film. It has the coolest sounding title ever and the
posters couldn't look more ravishing. Unfortunately, the Russ Meyer
collection is pretty hard to find where I'm from so it took me years to
finally purchase it. I own it now and I can say it fully lives up to my
expectations. It's a gorgeous film, and typically Meyer. That doesn't mean
it's a masterpiece but he has the talent to make words like `trash' sound
good. Faster Pussycat Kill kill handles about
not all that much, but
that's the beauty of it. Three beautiful exotic dancers (with the exact
right measurements) revolt against the masculine lifestyle and go out on a
rampage. Riding fast cars, provoke men and sweet similar stuff. Leader of
the pack is the gorgeous Varla (portrayed by the more than impressive Tura
Satana). She's one massive heap of estrogen who kills men with her bare
hands and enjoys riding over people with her car. Her two accomplices have a
tad bit more humanity in them. They're Lori Williams (a gorgeous looking
blond girl) and Haji (her accent alone causes chemical reactions inside a
man's body). The lovely threesome ends up among rednecks in a farmhouse,
somewhere in the middle of a desert. Meyer's style is a joy for all senses!
The film is filled with memorable quote material and the screenplay is very
ingenious at times. The male weirdoes in the farmhouse actually pre-date
Tobe Hooper's Sawyer family with almost a decade!
Faster Pussycat! Kill Kill has pretty much in common with Motor Psycho, a
film shot by Meyer in the same year. There's a main villain, ultra-insane
and prepared to go all the way while his followers merely fear him, rather
than support him. So basically
this IS Motor Psycho
but with boobs!! Hey,
I'm all for feminism so let's hear it for FASTER PUSSYCAT! KILL KILL!
*** This review may contain spoilers ***
When you talk about exploitation movies there are a handful of
directors who truly stand head and shoulders above the rest within that
particular field of film. Names like Jess Franco, Herschell Gordon
Lewis, Al Adamson, Pete Walker and Russ Meyer would be mighty high on
any list of exploitation masters. The latter, Russ Meyer, may well have
a serious claim to be labelled the most important of all the
exploitation directors, for his work goes beyond merely making money
from sex, nudity, violence and other such sensationalism. Meyer is
actually a serious artist, whose philosophies and techniques make his
films instantly recognisable. In some ways, he is just as important and
influential as Hitchcock, Huston, Lean and Visconti though
critically, perhaps correctly, his films are received with far less
acknowledgement and acclaim. Faster Pussycat! Kill! Kill! is Meyer's
most popular, most famous and probably most entertaining film. It is a
true original, perhaps too "different" for many tastes, but certainly
one of the quintessential films within the exploitation genre.
Three sexy go-go dancers Varla (Tura Santana), Rosie (Haji), and Billie (Lori Williams) spend their spare time car-racing in the Californian desert. Varla in particular has a competitive edge and a vicious streak, so when challenged to a car race by egotistical Tommy (Ray Barlow), she cannot resist. The race gets out of hand and Varla, a karate expert, ends up savagely murdering her rival Tommy. Following the killing, the trio of girls decide that they have nothing to lose and so indulge in various other unsavoury activities. First, they kidnap Tommy's girlfriend Linda (Susan Bernard), then head off into the sunset in search of further kicks. They eventually wind up at a ranch owned by a wheelchair-bound old man (Stuart Lancaster), who lords over two sons with an iron fist. One of the sons is sensitive Kirk (Paul Trinka), the other is a gigantic retard known simply as "Boy" (Dennis Busch), whose brute strength alone is fear-inspiring. Varla and her sidekicks suspect that the ranch-dwellers may have a fortune in cash and set about finding it and stealing it. They use their considerable sex appeal to seduce the younger ranch hands, but the bitter old man proves a far tougher nut to crack .
This film is typical Meyer the usual doses of perversity, nastiness and excessive cleavage are there for all to see, and it is put together with considerable skill. Meyer usually served as his own producer and editor on films, and in this one his editing is especially impressive. The film is shot in black and white, but still manages some startling imagery, notably Santana's crunching slaying of Barlow early in the film, expertly framed against the dusky desert wilderness. The script is less impressive, with an almost adolescent, single-minded reliance on flesh and brutality that is taken to and beyond the extreme. Sometimes you might find yourself asking what the hell you're watching, especially as the film enters its deranged final section. You might even find yourself fearing for Meyer's mental well-being, for it does indeed take a pretty perverted imagination to come up with a story as twisted as this one. Generally-speaking the performances are rather amateurish, although Santana makes an unforgettable impression through sheer lip-smacking relish (as well as her extraordinary cleavage) in her role as the most sadistic femme fatale ever seen on film. If you're interested in cult movies, then Faster Pussycat! Kill! Kill! is an absolute must-see . indeed, only when you've seen it can you consider yourself a genuine authority on the subject of cult films.
Russ Meyer's 1965 cult classic "Faster, Pussycat! Kill! Kill!" has all
of the earmarks of 60's kitsch, but comes at you with such no holds
barred gusto as to allow it a place all its own. It would be hard to
refer to it as "the kind of film that" or "it's like this or that",
because it truthfully stands alone. If anything, most of the
relationships this film has to anything else have been forged with the
pop culture it inspired.
Given it really has one at all the film's plot revolves around a trio of tough women who are go-go dancers by night and wickedly violent speed demons by day. During one afternoon in the middle of the desert they encounter a young couple. Ultimately, one of the women kills the man, kidnaps the young woman, and attempts to use her as bait for a dirty old man and his sons.
There's little rhyme or reason to most of what happens, except as an amped up display of well-endowed, sexually engaging women and raw, in your face violence. This highly lauded film among the art house and drive-in set is great, juvenile fun, with some exceedingly memorable, albeit corny, dialogue.
Faster, Pussycat! Kill! Kill! (1965)
** 1/2 (out of 4)
Russ Meyer film about three big breasted strippers who murder a man, kidnap his girlfriend and then hold up at an old cripple man's house so that they can steal some money from him. I know this here has the biggest cult following of any Meyer film thanks in large part to the three ladies but I found the film to be pretty much overrated. I enjoyed several other "lesser" Meyer films a lot more but this one here just seemed to be missing the humor that the other films had. There's some unintentional laughs like the cripple man who is constantly using his legs but other than that the film just didn't work. It remains entertaining throughout but it's certainly behind other titles.
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