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One would expect that the second instalment of Russ Meyer's Vixen trilogy would in some way follow on from the first film. Thinking that would be a mistake. SuperVixens has precious little to do with Vixen, in much the same way as Beyond The Valley Of The Dolls is unconnected with Valley Of The Dolls. There are of course some similarities between the two sexploitation comedies, and any other Russ Meyer film for that matter: scarlet as a motif for sex; large breasted, sexually dominant women; the bare wire frame of a mattress; nature and nudity.

Clint Ramsey (Charles Pitts), a mechanic at a gas station, receives a phone call from his partner SuperAngel (Shari Eubank). During the call SuperAngel hears the voice of a flirtatious customer, SuperLorna (Christy Hartburg), and goes ballistic, threatening to burn down their house. Clint rushes home. On his return he is subjected to a.

Russ Meyer, who singlehandedly put the sexploitation film on the map in 1959 with his pioneering The Immoral Mr. Tees, was a veritable one-man band. He produced, wrote, directed, shot, and edited his own films, which are instantly recognizable by an inimitable aesthetic dominated by cuts delivered at a stupefyingly rat-a-tat pace. Meyer described his personal tastes as centered on “big bosoms and square jaws”, and his films usually traded in stereotypes pushed to the limits of absurdity and the cartoonish. Meyer’s ability to serve up heaping helpings of unabashed sex laced with withering social satire is virtually unrivaled.

So it was a lamentable loss for lovers of film (smut or otherwise) when Meyer’s work, practically ubiquitous in the VHS era, sank into unavailability at the dawn of the DVD era, with the sole exception of his one major studio production: 1970’s Beyond the Valley of the Dolls. But...