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|Index||77 reviews in total|
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.
Was able to tape this film which was shown recently on TV and found it quite interesting with very attractive gals who took complete control of every situation in the film. These woman were very well built and were able to control men with every move they made. Most of the film was made outside in the desert and there were some men who met their doom and others who never made it out of the desert. However, some of these gals met up with a Samson type guy who was able to make all the girls lick their lips in desire. One very attractive gal found a knife in her back and others were being chased by a car down a railroad track. Russ Meyer made a masterpiece of this film which will entertainment many generations of movie goers.
*** This review may contain spoilers ***
I really didn't know what to think of this movie. I liked it and hated it all at the same time. It's about this group of women who have huge breasts and they go racing, they kidnap this girl and end up at this old guys house. I liked the main character with the eyelashes because she was so mean. There is so much sexual innuendo in this movie that it becomes quite hilarious. The whole scene where they are eating lunch just cracked me up. There is a lot in this movie that makes no sense to me at all such as the woman kissing the oldest son. That didn't blend well with the rest of the movie but it was funny. I still don't know if I like or dislike this movie. It's a great cult movie but it borders on the line of being too cheesy. Try it.
Silly, but very entertaining. Tura Satana rocks! How come that we seldom see her in other movies? I love the violence, Satana is queen of Kung-Fu! This is probably one of the best B-movies of all time. It comes second only to "Pink Flamingos", by John Waters.
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 film is one of my favorites. The main characters are empowered attractive women who love fast cars, the fast life and making their own rules. I love the dialog in the film. It is very witty and enthralling, however, the dialog is more catch phrases that Shakespearian prose which fits in well with the film and makes it a cult classic. All the characters are not what they seem which gives the movie great plot twists. Of all the Russ Meyers films, this is the one that made the least amount of money which seems to be attributed to the lack of nudity. I personally do not find that to be a flaw because there is plenty of cleavage and booty to keep guys' eyes glued to the screen. To sum it all up, if you like beautiful busty girls, fast cars, great catch phrases and lots of action, then you will not be disappointed by this film! It is definitely worth watching!
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