Tag Archives: Sexploitation films

Heat-1972

Heat-1972

Director-Paul Morrissey

Starring-Joe Dallesandro, Sylvia Miles

Scott’s Review #479

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Reviewed September 11, 2016

Grade: A-

Heat is a Paul Morrissey/Andy Warhol collaboration in 1970s sexploitation films. The film is somewhat of a spoof of the classic film from 1950, Sunset Boulevard, and stars 1970s cult star Joe Dallesandro.

He plays a hunky struggling actor, and former child star, who begins a relationship with a has been actress (Sylvia Miles) and her lesbian daughter as they co-habitat in a seedy Los Angeles hotel run by plump landlady (Pat Ast).  He pays the landlady a reduced rent in exchange for sex.

Heat stars two of my favorite cult film actresses (Miles and Ast). It is a fun, over the top, independent style sex romp. A pleasing experience for those in the mood of something left of center.

Faster, Pussycat! Kill! Kill!-1965

Faster, Pussycat! Kill! Kill!- 1965

Director-Russ Meyer

Starring-Tura Satana, Haji

Top 100 Films-#85

Scott’s Review #406

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Reviewed May 28, 2016

Grade: A

Shamefully, this cult masterpiece from 1965 has somehow alluded me for many years- largely due to its unavailability on Netflix- head shaking for sure. Finally, I decided to simply buy the newly released Blu-Ray edition, and I have immediately become a huge fan of this Russ Meyer work of art. Influential and intriguing, it is no surprise it is a camp classic. Several famous directors, most notably Quentin Tarantino, have paid homage to this film in their own later works- most notably, Death Proof. Fast cars, sexy women, and murder represent this unique film.

In comparison to other famous Meyer works, specifically the gregarious yet brilliant Supervixens (1975), Faster, Pussycat! Kill! Kill! is almost understated and quiet. He also directed the well known Beyond The Valley of the Dolls from 1970. Shot in black and white, several notable comparisons to Supervixens must be pointed out: a hot California desert, large breasted women, and gas stations are prevalent throughout. Unlike Supervixens, though, there is little or no nudity.

Three go-go dancers race through the desert in their sports cars. They have murder and kidnapping on their minds. The ring-leader, Varla (Tura Satana) is a vicious, sexy, Asian woman. Her two side-kicks are Billie (Lori Williams), and Rosie (Haji). While Billie and Rosie squabble and fight in a juvenile fashion, Varla is the serious one. The trio enjoy racing their cars and engaging in the game “chicken”. When they meet all-American couple, Tommy and Linda, out for a romantic drive, they have a dispute, and end up killing Tommy- drugging and kidnapping Linda. After stopping for gas, Varla hatches a plot to steal money from a crazy old man, his muscular-yet dimwitted son (known as the Vegetable), and the old man’s seemingly normal son, Kirk.

Faster, Pussycat! Kill! Kill! is a groundbreaking film as it is gender bending. The women are hardly written as sex objects like most in films of that day were-far from it. They are ferocious, specifically Varla, as they do typically masculine things- race cars, fight, kill, yet do not sacrifice any of their femininity. All three women are sexy, busty, and wear stylish make-up. They are not trying to be like men, but are tough girls. This is part of what makes the film so wonderful to watch. Usually in Hollywood, these characters would be molls to even rougher men, or supporting the men in some way. These female characters are the film.

My favorite character is Varla. Sexy, fierce, and a minority, how often is a female villain this charismatic?  Perhaps in Bond films, but then she would be a conquest of Bond and not her own person. Varla makes up her own rules. The fact that she is Asian is superb and breaks many barriers in the way Asians are portrayed in film. Varla is more devious than the others characters- willing to kill anyone who stands in her way- even her own friends.  She is a character written very well by Russ Meyer, and pure femme fatale.

The male supporting characters are interesting. The old man, actor Stuart Lancaster, would later appear in Supervixens. He is a cripple, wacky, and as diabolical as the women. He has designs on innocent Linda and makes no bones about it. The Vegetable is hunky and fresh faced- an innocent victim of his father’s evil ways, so he is a character we root for. I enjoyed the brief romance between he and Billie. Lastly, Kirk is the “normal” son, also a victim of his father. When he and Linda run across the desert while being chased by Varla, we root for them to survive.

The black and white style, chosen in order to save money, actually adds to the unique cinematography,  with sharp edits, and gives the  film mystique. The 1960’s jazzy score adds to the film as well. In color, I wonder if the film would have had a more cartoonish quality. The black and white moves Faster, Pussycat! Kill! Kill! into art film territory.

The debate over the film is, “Is the film exploiting women or empowering them”? To me, the film is answering the question of whether women can be tough, sexy, and complicated with a resounding yes. All three principal characters are layered- each develops feelings for other characters, and at one point Rosie’s sexuality is questioned by Billie. Still, the female characters are not monsters nor are they caricatures. They are complex with real emotions.

Faster, Pussycat! Kill! Kill! is an influential art film/exploitation film that empowers female characters, questions gender categorizations, and takes hold of the viewer, never letting go.  A miraculous representation of the changing times in cinema during the 1960’s. It is brilliant.

Supervixens-1975

Supervixens-1975

Director-Russ Meyer

Starring-Shari Eubank

Top 100 Films-#75

Scott’s Review #361

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Reviewed January 9, 2016

Grade: A

I first watched Supervixens in 2008 and, if I am being completely honest, did not much care for it, or rather, was very perplexed by it. I did not know what I had just viewed and was simply caught off guard and blown away- I have since realized that this is part of my love for the film. Is it a comedy? Is it too over-the-top and shameless? Is it trying to degrade women? Now, a mere eight years later, it lands firmly ensconced on my Top 100 Films list and it is similar to a fine wine- it just gets better and better with age. Never before did I think I would fall in love with a sexploitation film, but I have.

Directed by Russ Meyer, noted for his series of 1970’s sexploitation films, Supervixens, is set somewhere in the desert of eastern California. Gas station attendant, Clint Ramsey, a handsome young man, is found irresistible to a series of sexy and large breasted women, all with names beginning with “Super”.

We are introduced to his steady girlfriend, SuperAngel, a bored, horny, feisty woman played by Shari Eubank. Jealous and possessive, she demands for Clint to leave his job and come home to her immediately, which leads to hilarity as they spar outside utilizing an axe as they wrestle and fight. Their nosy neighbor looks on, both tantalized and frightened.

Others who make appearances during Clint’s journey’s are SuperLorna, a horny gas station customer (strangely appearing in only one scene, but gracing the film cover packaging), who sets her sights on Clint much to SuperAngel’s chagrin. SuperCherry is a buxom girl who picks up Clint hitchhiking, SuperSoul, an Austrian farmer’s wife, who seduces Clint at the farm, SuperHaji, a bartender at the local watering hole, and finally, SuperEula, who is black, deaf, and with a white father.

Supervixens, as well as a number of Russ Meyer’s films have influenced countless other famous films to come, and I continue to note the overall influence Supervixens has had on Quentin Tarantino, specifically. The bloody violence mixed with cartoonish characters, as well as Nazi references (a frequent theme of Tarantino’s) and German marching music, Supervixens has a sly sense of humor- wicked almost, but never apologetic. Tarantino uses a similarly outrageous style.

Carrie (SuperVixen bloody in the tub), The Shining (Harry breaking down the bathroom door amid a screaming SuperVixen), Friday the 13th- Part 3 (the camera angle at the top of the hayloft panning down on the approaching climber) are just a few that I have noticed during repeated viewings.

My love of the film is its outrageousness and I find the film to be empowering to women most of all- not degrading. There is also male nudity and reference to the male anatomy numerous times so it is not a one sided exploitation film. Each female is a superhero, of sorts, and despite the sexploitation aspect, the film is quite romantic in spots- the tenderness between Clint and SuperEula is one of my favorites.

I also love the romance between Clint and SuperVixen (a dual role for Eubanks), as she is a reincarnation of SuperAngel. Working side by side at a roadside gas station that she owns, they pump gas and prepare burgers together, while running through the desert in a happy, lovely way. Of course, their romance is threatened by the sinister Harry, who has returned for revenge.

Hilarious, outrageous, and in your face sexual, Supervixens is a camp classic that is so much more than that. Influential and creative, it simply must be seen to be believed. I hope it is never forgotten.

Reform School Girls-1986

Reform School Girls-1986

Director-Tom DeSimone

Starring-Linda Carol, Wendy O. Williams

Top 100 Films-#100

Scott’s Review #348

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Reviewed January 9, 2016

Grade: A

Let’s be honest here- Reform School Girls is neither a work of cinema art nor a particularly well-acted film. In fact, from a critic’s perspective it is riddled with stereotypes and objectifies women. Still, it is one of my favorite guilty pleasures and has an offbeat charm that makes me want to watch the film over and over again. I never tire of it. I also do not think it should be reviled, but rather, revered. There is a perverse magnificence to  the film and some similarities to another cult gem-Russ Myers Faster Pussycat, Kill!…Kill! Critics be damned- not every film needs to be high art!

One of my absolute favorite cult actresses, Pat Ast, famous for another cult gem, 1972’s Heat, stars in Reform School Girls as a vicious prison guard. Alongside punk rocker turned actress, Wendy O. Williams, they make the film a guilty masterpiece as both women bring their share of odd energy and humor to the flick. Sybil Danning co-stars as the corrupt Warden Sutter.

The plot of the film is pretty straightforward and it screams late night fun. A virginal teenage girl named Jenny is sent to a reform school run by the sinister warden and her sadistic and abusive henchwoman, Edna (Ast). While there, Jenny is intimidated by Charlie (Williams), who rules the roost via bullying and threats. Jenny is accompanies by several other terrified girls, who are stripped and degraded by Edna. This leads to an attempted escape and protest scene by the girls and others as they try to remove themselves from their tormentors.

Reform School Girls is simply great fun. The poor acting is actually a strength of the film as one scantily clad female after another prances around the reform school. Wendy O. Williams regularly wears skimpy panties, bra, and heels and is laughable playing a teenager since the actress was pushing forty years old.

The culmination of the film is fantastic as a chase ends up by an enormous tower on the grounds of the prison, resulting in the deaths of Charlie and Edna in dramatic fashion. Edna’s charred remains are met by an uproar of cheers by the inmates- I half expected them to burst into a chorus of “Ding Dong the Witch Is Dead”.  Reform School Girls is a perfect cult classic to enjoy on a late Saturday night.