Believe it or not even in Smalltown USA there are still people who are unfulfilled and unrelieved in the midst of plenty. Levonna & Lamar could have the perfect relationship if it were not ... See full summary »
After stealing a fortune in unclaimed jewelry, ex-detective Barney Rickert arrives at a run-down dude ranch in Arizona to hide out. When the owner, Dewey Hoople, refuses to sell the land to... See full summary »
Eve is dressed in a long raincoat and follows the handyman around as he makes his appointed rounds. She watches as he has humorous run-ins while cleaning toilets, taking scrap metal to the ... See full summary »
Believe it or not even in Smalltown USA there are still people who are unfulfilled and unrelieved in the midst of plenty. Levonna & Lamar could have the perfect relationship if it were not Lamar's obsession with rear entry. After submitting to the one last time Levonna comes up with a plan. While Lamar is trying find other tail to try his technique on, Levonna becomes Lola with aid of a wig and a Mexican accent. A Mexican cocktail later Lola finally has Lamar straight, but he wasn't awake for it. The gay marriage counselor, attracted to Lamar's problem, couldn't help them and Lemar must finally seek redemption at the church of Rio Dio Radio and the laying on of hands by Sister Eufaula Roo. Written by
Randy Spencer <email@example.com>
Beneath the Valley is one of Meyer's better known works, largely due to its broader distribution, over-indulgence of feminine beauty and crass humor. These are all time-honored features of Meyer in his films, but as his last feature (Pandora Peaks typically isn't counted in terms of conventional Meyer timeline), everything gets laid on extra thick. Meyer tests the boundaries of just how far he can go before the viewer reaches sensory overload. Nonetheless the impeccable Kitten Natividad and the often unmentioned, but still unforgettable Ann Marie stay true to Meyer fashion and manage to suck in the viewer while Meyer dishes out social taboos and common problems associated with the modern couple. Nobody is safe from his scathing satire. The homosexual professional, the self-defeating redneck and the two-faced nature of radio/TV evangelism all get a thorough walloping in this film. This film also serves as the epitome of Meyer's work with photography and cinematography. His virtually-patented "up through the bed springs" shots are unmistakable and this film serves as the perfect showcase and record of this unique, yet effective technique. Never before has any director opted to shoot the love scene from the mattresses point of view! Although this film does indeed lack in comparison to Supervixens or Up! as one of Meyer's late '70s style flicks in terms of dramatic story complexity, it's still Russ Meyer, and that alone makes the film worthwhile.
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