| Cast overview, first billed only: | |||
| Kitten Natividad | ... | Lavonia / Lola Langusta (as Francesca 'Kitten' Natividad) | |
| Ann Marie | ... | Eufaula Roop (as Anne Marie) | |
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Ken Kerr | ... | Lamar Shedd |
| June Mack | ... | Junkyard Sal | |
| Patrick Wright | ... | Mr. Peterbuilt (as Pat Wright) | |
| Henry Rowland | ... | Martin Bormann | |
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Robert E. Pearson | ... | Dr. Asa Lavender (as Robert Pearson) |
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Michael Finn | ... | Semper Fidelis |
| Sharon Hill | ... | Nurse Flovilla Thatch | |
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Don Scarborough | ... | Beau Badger |
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Aram Katcher | ... | Tyrone |
| DeForest Covan | ... | Zebulon | |
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Steve Tracy | ... | Rhett |
| Uschi Digard | ... | SuperSoul | |
| Stuart Lancaster | ... | The Man From Small Town U.S.A. | |
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 <spencer@ricochet.net>
More than a comedy, this is a parody on a parody. Based more than a bit on Thornton Wilder's "Our Town", it satirises American middle class values in a much more Rabelaisian way than Wilder himself did. Or could.
OF course, Meyer is the great auteur. He writes, directs, produces, shoots and appears in this film, helped only by a pneumatic cast on screen and Roger Ebert thankfully off it. Even the title screams satire, from the great outsider, poking Hollywood right in its Beyond the Valley of the Dolls/Beneath the Planet of the Apes tunnel vision. Nobody makes films as full-blooded as Russ Meyer. His vision is full speed ahead and damn the torpedoes. But it's also sophisticated in structure, with enough dramatic irony to warrant the term post-modern.
I haven't seen it in 20 years but I'll never forget the rollercoaster experience, or the absurd self-referential epilogue. An extraordinary film that deserves acclaim beyond its secretive cult status.