Faster, Pussycat! Kill! Kill! (1965) Poster

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"The point is of no return, and you've reached it!"
Vince-512 June 2001
From the beginning, you know that this monochrome Meyerama is going to be incredible--an Outer Limits-style voice-over pontificating on the violence of women, followed by incredible shots of three luscious go-go girls doing the Watusi as the Bostweeds' wild theme song blasts from the jukebox. Then things move to the barren California desert for drag races, catfights, murders, straining blouses, and a lot of torrid action and satirically overwrought melodrama.

Tura Satana, Haji, and Lori Williams have terrific screen presence as the three tough-as-nails villainesses. They're the kind of deliciously over-the-top antagonists that you root for, especially since the nominal heroine (Sue Bernard) is a ridiculous dimwit who couldn't act her way out of a paper bra--I mean, bag. Highest honors go to the amazing Satana, shouting most of her lines and dropping sexual innuendos while resting her boobs on the dinner table.

As usual, Russ Meyer fills the screen with sharp dialogue ("Breast or thigh, darlin'?") and sharp camerawork. There is no nudity, since Meyer was trying to circumvent the censors in 1966, but there are some incredibly sexy scenes all the same. Excitement and laughs abound in this straight-faced send-up of action-flick conventions. This celebrated cult classic is one big-breasted Gothic melodrama-satire that out!
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The "Citizen Kane" of trash cinema
pinback-33 October 2006
Three go-go dancers - Varla (Tura Satana), Rosie (Haji) and Billie (Lori Williams) - are racing their sports cars out in the desert when they meet up with a young man named Tommy (Ray Barlow) and his girlfriend Linda (Susan Bernard). Tommy is an amateur car racer who has come out to do some time trials. Varla challenges him to a race. When she cuts him off with her car it leads to a fight and she kills him. Dragging the frightened Linda with them the trio go into the nearest town to fill up with petrol. There they see a muscly young man (Dennis Busch) carrying his crippled father (Stuart Lancaster) to his truck. The petrol station attendant (Mickey Foxx) tells the girls that the muscle man is retarded and that his bitter old father is reputed to be rich, but must have his riches stashed away somewhere at his isolated homestead. The girls decide to drop in for a visit hoping to find the old man's riches. They pass off Linda as a rich man's runaway daughter they are bringing home against her will. What they don't know is that the old man is a misogynist who delights in kidnapping women for his son, whom he refers to only as The Vegetable, to rape. They will have to rely on their own deadly talents and the possible decency of the old man's other son Kirk (Paul Trinka).

Russ Meyer's black and white "ode to the violence in women" made little impact when first released in 1965. Meyer had taken the world by storm with "The Immoral Mr. Teas" (1959), the film most often credited with kicking off the nudie cutie craze. And he would become a household name with the success of "Vixen!" (1968). But the films he made between those two landmarks, though some of them are among his best work, didn't attract much attention. But then John Waters, in his 1981 autobiography "Shock Value" wrote : "'Faster, Pussycat! Kill! Kill!', beyond a doubt, the best movie ever made. It is possibly better than any film that will be made in the future." Waters dubbed Meyer "the Eisentein of sex films" because his use of skillful editing to get maximum impact out of scenes of sex and violence is reminiscent of the methods by which the Russian director managed to powerfully convey his political messages. Waters' championing of "Faster, Pussycat!", in particular, led to it becoming a favourite on college campus's across America.

If Meyer is "the Eisenstein of sex films" then "Faster, Pussycat! Kill! Kill!" is the "Citizen Kane" of trash films. I don't use the term disparagingly. For me a trash film is a film which appeals on a visceral rather than purely emotional level. In trash films realism is bad style. We must always know that we are watching a movie and enjoy it as a fantasy formed from our own base drives - from those uncivilised aspects of our nature that we must repress to live a civilised existence. Hence the term "trash" for the substance of these films is those aspects of ourselves which must be discarded. The violence in the trash film appeals to the knot in our stomach from every time we've had to bite back on our anger. It's prurient sexuality appeals to the lusts generated by everyday existence for which we may have insufficient outlet. We don't sympathise with the characters in a film like this, but we can identify with their actions because they take place in an obvious fantasy world. But the trash film has another appeal - the exhilaration that comes from the transgression of the bounds of good taste. And its sense of humour is the kind which elicits a belly-laugh. The anarchic spirit of the trash film has no less value than the more rarefied pleasures and intellectual stimulation of the art film.

What makes "Faster, Pussycat! Kill! Kill!" great is the way that it takes the sex and violence of the trash film and distills them into something more iconic than explicit. Unlike most of Meyer's films, there is no frontal nudity or sex scenes. The violence is powerful, but not extended or shown in gory detail. Yet Tura Satana in her tight black jeans, half-exposed breasts practically bursting free as she eyes up a man like a side of beef or takes him out with karate chop to the neck, distills any amount of sex and violence into a single unforgettable mythic figure. Similarly the vastly underrated Stuart Lancaster is the very personification of sleazy misogyny. Add to this the brilliant build-up of the opening monologue, Meyer's masterful editing and Jack Moran's eminently quotable and often hilariously funny camp dialogue and you have a trash film masterpiece that just gets better and better the more times you watch it.
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Russ Meyer's immortal trash classic. Has to be seen to be believed!
Infofreak27 January 2003
I have watched and enjoyed most of Russ Meyer's output, and will quite happily defend his lesser works, but two of his movies have a life of their own and have managed to reach a larger audience than "just" card carrying Meyer nuts. They are 'Beyond The Valley Of The Dolls' and this one, 'Faster Pussycat! Kill! Kill!'. Both movies are trash classics and never fail to entertain no matter how many times you have seen them. 'Faster Pussycat!' really succeeds mainly because of the three strong leads, Tura Satana, Lori Williams and Haji. Any one of them would be enough for Meyer to plan a killer movie around, but all three together is dynamite! Satana, strangely enough, did very little movie work after this, mainly a couple of Ted Mikels turkeys. But it doesn't really matter because her screen immortality is assured. Her performance in this movie is more than enough! Williams also went on to very little, but she is very good here, and stylistically reminds me quite a bit of Erica Gavin in 'Vixen!'. In fact one could almost bet that if Meyer had been aware of Gavin when he made this movie she would have played the part of Billie. Haji appeared in a few more Meyer movies, including his masterpiece 'Supervixens', but this is probably her strongest role. All three women, who play go-go dancers by night, thrill seeking criminals by day, are simply wonderful and their chemistry and repartee are priceless. Meyer regular Stuart Lancaster is also in fine form as a dirty old man with more issues than a daily newspaper. There are so many unforgettable scenes in this movie it's difficult to single any out. The whole movie just rocks period. Many late 60s movies attempted to emulate a camp, comic book appeal ('Barbarella', 'Diabolik',etc.etc.) but in many ways Meyer beat them all, and did so without technicolor, large sets, multiple costumes, special effects and other gimmicks. Just crisp black and white photography and three chicks in the desert. Plus a brilliant theme song later immortalized by The Cramps. Russ Meyer divides most viewers. You either "get it" or you don't. If you aren't familiar with his work this is probably THE place to start. Watching this movie for many is a life changing experience! 'Faster Pussycat!' is one of the most original and entertaining movies made in the 1960s, and continues to amuse and inspire right into the 21st Century. Every time I watch this movie I am knocked out. This is a bona fide cult classic that gets better and better as the years go by. Absolutely essential viewing for anyone who loves exploitation movies, The Sixties, rock'n'roll and/or buxom babes!
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Female domination meets Nouvelle Vogue in amazing trash cult fashion!
The_Void25 January 2006
I've got to admit, after the first ten minutes or so; I really didn't think I was going to like this film. However, it isn't long before Russ Meyer's film takes off - and before I knew it, I was watching one of the greatest pieces of trash ever to hit the silver screen! If you want a B-movie; this film has all the essential ingredients. We've got fast cars, fighting, killing, snappy dialogue and a trio of buxom beauties in the lead roles! It's quite clear that this film is made purely for entertainment value - as the plot is non-existent, and the characters don't go any deeper than the common B-movie stereotypes, but it doesn't matter - because entertain it does, and this is about as 'cult' as it gets! Shot in crisp black and white, and with all the energy of the Nouvelle Vogue cinema doing the rounds in sixties France, Faster Pussycat! Kill! Kill! (awesome trashy title) follows three women; dancers by night, and fast car riding killers by day! We follow them as they stumble upon an old farmhouse, inhabited by an old man as sick as they themselves. He's got some money hidden, and the lead chick wants it...only the old man and his sons stand in her way.

It's immediately clear that acting isn't this film's strongpoint; the dialogue sounds forced and ridiculous, and none of the cast do good jobs of making their characters real - yet in true trash fashion, it's the ensemble that is this film's main asset. The trio of women are the main players, with the busty and exotic Tura Satana taking centre stage and being backed up by Haji, and the stunning Lori Williams. These three would make any film worth watching, and the way that Russ Meyer ensures that the girls are always the strongest presence on screen gives Faster Pussycat a lot of its cult value. The film moves quickly, and the action is fast edited and cut with an imminently cool soundtrack, thus making the film amazingly watchable and an obvious influence on the likes of Quentin Tarantino. The fact that this film pokes fun of cinematic violence by having women in the leads will always make it memorable; the fact that they've got big breasts only makes that more so. This is an absolute cult classic and, I suspect, a film that I'll be seeing over and over again. This is one of those films that has to be seen to be believed - so make sure you don't miss it!
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Coming At Ya From Six Different Dangerous Directions!
gftbiloxi29 March 2005
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
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Absolutely captivating. Who knew?
conono11 July 2007
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 ;)
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Great! Great! Great! Love it! Love it! Love it!
DJ Inferno19 May 2001
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)
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Repeated Viewings Recommended
aimless-462 August 2005
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.
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A female "Motorpsycho" trio up to no good
Atavisten27 May 2005
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.
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Ultra-violent, ultra-cool cult movie. What you might call a guilty pleasure!
barnabyrudge9 July 2006
Warning: 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.
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Attack of the killer cleavage!!
Coventry6 May 2004
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…well…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!
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elwood71421 October 2006
The female characters each represent the different aspects of the female sexuality: innocence, female dominance, intellect, desire for other females, anger at power men have over them, etc. Same with the men. The old man was crippled by trying to save a girl from a train; raging male desire, and get emasculated by that pursuit. He has his new body: son, do his sexual work for him. The women are after his money, a familiar scenario. The other son is male rationality and emotional strength that women really want; a daddy. The film is packed with symbols of human sexuality. New ones emerge with each viewing and interpretation, Very sexy. The story is brilliant and reminiscent of Greek tragedies and Shakespearean lessons.
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Lots of Boobs
Bob_Zerunkel19 September 2009
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.
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a one of a kind
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.
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Trashy but interesting and engaging
grantss9 August 2016
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.
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Too fast for love...!
Red-Barracuda15 July 2013
Considering its fame, it comes as a bit of a surprise to learn that this Russ Meyer movie wasn't successful on first release. In fact it did a lot worse than Meyer's subsequent effort Motor Psycho. The latter was essentially a more traditional exploitation flick in which a gang of thugs go around causing violence. The chief difference between this movie and Faster, Pussycat! Kill! Kill! was that in the latter the villains were a gang of girls. It seems audiences in 1965 weren't ready for the kind of dangerous women that Meyer unleashed; women as amoral and violent as traditional male villains. Nowadays, there will be very few people indeed who consider Motor Psycho the better film, while Faster Pussycat is not only regarded by many as Meyer's best film but also one of the very best exploitation films ever made. The reason it didn't connect at the time was really because it was too far ahead of the game.

For a film made in the mid-60's Faster Pussycat has a very modern feel. One of the reasons for this was because of Meyer's sharp photography coupled with his precision editing. His films were very stylised and Faster Pussycat is a great example. His camera-work is always consummate and great looking, while the three lead women are consistently well shot – Meyer always ensures that they look fantastic. These women are of course the pussycats – go-go dancers, drag racers, killers - and a cooler gang of villains there has never been. The leader Varla is truly a one in a million. Played by the indescribably sensational Tura Satana, she is clad entirely in black and goes around shouting lines of great dialogue at whoever comes within distance. Has there ever been a temptress as cool and dangerous as Varla in cinema ever since? No, there certainly has not. Then there is Billie played by Lori Williams who is the loose cannon of the group. On the surface she seems the least threatening of the trio but she is under no one's thumb and Williams is extremely seductive. Completing the trio is Rosie played by the one and only Haji. Personally, she is my favourite of the three. She has the most magnificent over-the-top (Latino?) accent and gestures I have ever seen. Needless to say, all three pussycats are glorious. The male characters are much less interesting – how could they not be? – but still Meyer regular Stuart Lancaster is once again very good in the role as a wheelchair-bound nasty misogynist, while it would be remiss not to mention that he has a simple minded son who is known simply as The Vegetable.

But Faster Pussycat is not all about the visuals. The script by Jack Moran is extremely memorable and full of brilliant one-liners. Varla in particular spits out this dialogue with some verve. It remains a very amusing film because of the sheer funniness of the script. The movie even begins with a voice-over that starts with the genius line 'welcome to violence!' We are subsequently warned of a new type of woman, a dangerous female who will kill without warning. All of this is accompanied by a black screen with audio distortion lines. Directly after this we are in a go-go club where we are immediately introduced to the pussycats. And we are off, driving through the desert along with the ultra-cool theme tune by The Bostweeds. It's one of the greatest openings to any film in my personal opinion.

Faster, Pussycat! Kill! Kill! is a film full of entertainment from start to finish. There are many moments to savour and it shows - if evidence was really needed - that Russ Meyer was a really great film-maker. And yes, this really is one of the greatest exploitation movies ever made!
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I see breasts and violence here...
the_crock19 December 2005
There are certain movies that can be completely enjoyed against your better judgment. Most Ed Wood films, the occasional Michael Bay film and virtually all Russ Meyer films. I mean they are films that deal with angry women with big breasts killing or maiming men. Even though they were ahead of their time (think Kill Bill, Alien or the Terminator before women really became hard in films) they are really exploitation films of breasts and violence. Some may say the perfect films. The dialogue is also legendary, it's somewhere between the insane, "Welcome to violence" and the so corny it hurts, "Here Rosie baby, pop the top before you blow your own!". Somehow Meyer still constructs a movie that although terrible bad in almost every way (the editing is quite good), is a classic in the way that only the truly worst can be. Enjoyable down to the last bad fight scene. I'll never race three strippers in the desert in the same way again.
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A wild ride with even wilder women
thomandybish19 March 2001
Russ Meyers' attraction for women with ample bosoms and fiery personalities is well-known. FASTER PUSSYCAT still looks like nothing out there in theatres. A trio of go-go dancers meet up with a teenaged couple in the desert. In short order the hellcats have killed the boyfriend, kidnapped the hapless girlfriend(why? Some sort of unspoken lesbian undercurrent?), and head toward an isolated ranch owned by a wheelchair-bound old coot who, the dancers learn, has a hidden fortune somewhere on the ranch. Then things really get hairy! Led by the raven-tressed Varla, the three karate-chop, cat-fight, and seduce their way towards the money. The thing is, the ending is a let-down, since we're led to believe from all this female hellcat posturing that Meyers admires strong women(but not too strong, apparently). Still, the girls are a joy to behold. The creators of XENA must have been rabid fans, since the warrior princess so closely resembles Varla(right down to the hairstyle). Check it out.
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Meyer's Angels
wes-connors8 September 2007
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
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Faster, Pussycat! Kill! Kill!
Scarecrow-8821 October 2006
Warning: Spoilers
Brilliant trash from Russ Meyer about three volatile go-go dancers who live hard and race their cars harder. Their leader is Varla(Tura Satana), a benevolent sort of mad dame who loves pushing the boundaries of bad. She decides to kill an innocent man just out to test-drive his car for speed time. She is always looking for competition when it comes to racing, and this young man produces the seed to sprout that urge. He has with him a foxy young dame named Linda(Sue Bernard)for whom Varla just has to carry along(she's bi-sexual, but is kidnapping her for kicks because that's just how bad she is..always looking for something a little more dangerous).

Varla is "supported" by lover Rosie(Haji)who is pretty much her servant girl for she even lights the woman's cigarettes. But, Billie(Lori Williams..who is absolutely scorching)is often a thorn in Varla's side because she challenges her authority and is quite a lousy drunk. Varla sees an opportunity for monetary gain in a crusty old man, crippled in a wheel chair(Stuart Lancaster)who has his stash hidden some place. She will scheme her way through the family to find the loot using means at her disposal such as her figure and possible sexual favors by going after older son Kirk(Paul Trinka)who admits he's weak when lust passes by. Billie sets her sights on the retarded, muscular son(Dennis Busch)who has a specific irritable weakness when trains pass..something about them scars his psyche. Will Varla find the old man's money? What will happen to poor Linda, who tries so often to get away but seems to never quite make it? Will anyone survive with Varla always scheming to find that cash? Ultra-violence prevails in Meyer's flick which is interesting because he allows Varla to be such a tyrant and seemingly indestructible when battling men. She swallows the weak whole and dominates all the characters. She sets her furious sights on something and doesn't think twice about diving after no matter what it is. Men presented in the film are weak and they seem almost knee-bent to the lusts they carry. The film has wonderful, slick beatnik dialogue and the way the camera shoots the characters is excellent. I loved how Meyer shoots the women behind the steering wheel. We can easily tell that they are merely in a superficial concoction with film crew-members moving the fake car with the girls inside, but this provides Meyer with a unique way of lensing their expressions of joy and malice as they race each other and chosen victims who have no idea what kind of dames they are dealing with.
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And the Academy Award goes to ...
fred-2879 January 2003
Warning: Spoilers
Oh, all right already, I confess it didn't occur to me to rent this until A & E on cable did an entire episode on "cleavage" featuring clips from the movie, at which point it occurred to me I'd never seen a Russ Meyer flick whereas I'd seen TWO by Herschel Gordon Lewis, for crying out loud. So maybe it was a kind of "pilgrimage" but at least I knew I wouldn't have to kiss a large rock at the end of it. ....

The key to enjoyable junk is that everyone involved with it be on the same page. Whatever style of acting is employed, let it be consistent cast-wide. On that point "Faster..." succeeds big-time, with one exception: the blonde chick comes off as doing self-parody. Had everyone else been doing self-parody, that would've been fine. Unfortunately, everyone else was "playing it straight" on the grade-Z scale. This may not seem such a dire matter, but for movies like this, tone is all they have going for them. Like the Monty Python block of flats, "it's only real if you believe in it..."

As for the (groan) plot, three strippers are spending their vacation cruising around the California desert and cross paths with a "regular guy" hotrodder and his sublimely ditzy girlfriend who, as in the de Sade novels, has no reason to exist except to be abused, so it doesn't bother us much. Then the femmes fatale learn from a Gas Jockey Ex Machina that there's an isolated household supposedly with a lot of money stashed, and dot dot dot. In the household are a crippled older guy with a pet shotgun and two sons, one a big lunk who's always eating and the other the closest this movie comes to a "normal" character. One remembers that up to that time movies always provided the audience with a "reference point" in reality. It wasn't until a few years later that John Waters came along to create entirely insane alternate universes, and then we had "Texas Chainsaw Massacre" and it's progeny ...

The crippled guy and his back-story are interesting enough in their own right that for a while one is tempted to watch this like a "real" movie actually caring what happens to the characters, but of course Mr. Meyer soon puts that right and we're back to the "high cheese," to borrow a baseball term. The highlight is when the big lunk is seen actually impeding the forward progress of a car by leaning against it. We're all familiar with cars, right? Well, back then there was even more metal in them than now. At that point "Faster..." becomes a cartoon, but still worth finishing, having come that far and all.

There's a kind of anthropological fascination at work here, it's like a time capsule from 1966. ("It's two years until the next election," one character reminds us.) It's the "Playboy" era of "innocent smut." The camera is trained on the strippers' mammary glands so much that the latter deserve co-star billing. There's no hint of sex, "kinky" or otherwise. One gathers that the movie's directed at guys like those seen in the beginning, clean-cut & nicely dressed, happy for any kind of "thrill." Almost makes one nostalgic for when such thrills really were "cheap," economical. (I'm remembering the lyrics of the Mothers of Invention as Ruben & the Jets: "Cheap thrills, in the back of my car ... cheap thrills, how fine they are...") If "Faster..." were a modern flick, it'd have to be a blood-drenched semen-stained horrorshow even to get our passing attention. Ah, the Good Ol' Days ....

The movie's title song by the "Bostweeds" (jeez, is that the lamest band name ever?) was later covered by the Cramps on their "Peppermint Lounge" album. Those guys (and gal) were eons ahead of their time in mining the classic ore.


Speaking of "goofs," in the scene where Rosie gets stabbed to death by the big lunk, it seems he's getting her in the lower belly, yet later when she's lying dead, her wounds are up near ... where else ... her chest. Even the laws of anatomy know their priorities....
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Lots of bosoms, not much sense.
gridoon11 March 2001
This is absolutely meaningless and artistically worthless, but if it hits you in the right mood you may actually enjoy it. There is an improvisatory feel to it - how else can you explain the tons of bad dialogue and the cheerfully incoherent script ? Russ Meyer was probably one of the first - and few - filmmakers to deal explicitly with the link between sex and violence and to reverse the roles of the standard action movies, but technically his film is too cheap and amateurish - apart from a really gripping final fight scene. (**)
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Russ Meyer jawbreaker may silence even the toughest critics...
moonspinner5515 July 2007
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 ****
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Dames, Trains and Automobiles
yonhope12 May 2005
Hi, Everyone, When a movie has one comma and three exclamation points in the title, it has to be good.

This was made during that era when a few strangers could gather around the table for a chicken and corn on the cob dinner in that old fashioned way. One person at the table could talk about how much he hates his son. Another could drink wine until she passes out. A third could try to find out where the old man keeps his treasure.

Then when the kidnap victim escapes again they could all go out searching for her. Unfortunately, a train goes by and toots its horn and the big Tarzan guy runs home.

The music is good throughout the movie. The service station attendant gets some laughs as he lays pipe (exposition, plot revelation) while he gazes through the windshield of the mean killer girl's car.

Fight scenes are imaginative and usually funny. Car chases are low budget but good for Saturday night bad movie get togethers. This is one of those people vs. people, people vs. car, people vs. knife, lunchtime frolics we see too little of today.

There is one scene where a chase is taking place down a railroad track. It would have been funny if it could have been resolved the way they did it in Abbot and Costello's "Ride 'Em Cowboy." If you like this I recommend "Attack of the 50 Foot Woman" and "Amazons." There is also a fight scene in "Diamonds Are Forever" between James Bond and a tough Vegas showgirl.

Tom Willett
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Don't Change That Song.
morrison-dylan-fan1 May 2013
Warning: 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 could be.

The plot:

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.
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