Supervixens

The obvious intent of Russ Meyer to put as many attractive amply endowed women on display certainly proves successful in "Super Vixens." The film is essentially a road movie, with the hero encountering different vixens along the way. What a lucky guy Charles Pitts character is, being constantly pursued by beautiful women. His nemesis is Charles Napier who plays a sadist cop. There is a final confrontation atop a desert bluff, which plays like a Wylie Coyote cartoon. The film is very uneven, switching from Napier's brutal beatings of women, to "beep beep" situations. The eye candy meter is off the charts however with Shari Eubank, Christy Hamburg, Uschi Digard, and Haji, so the movie succeeds quite nicely despite the thin script. - MERK

Russ Meyer, like David Lynch or Alejandro Jodorowsky, creates his own world in his movies and invites you to visit. And while I may not want to LIVE there, I sure do like to visit! You either love Meyer or you don't, it's as simple as that. Most fans seem to regard either Faster Pussycat or Beyond The Valley Of The Dolls as his best movies. I worship them both but my particular favourite is Supervixens. This movie is like no other ever made, with it's surreal mix of buxom babes, humour, violence, car chases and dynamite that has to be seen to be believed! Charles Napier fans note that this is his definitive performance playing psycho cop Harry Sledge, which may or may not be a reprise of his role in Cherry, Harry and Raquel! I dunno. Other Meyer regulars pop up including Haji, Stuart Lancaster and the criminally underseen John Lazar(Z-Man). But the real find here is Shari Eubank in a duel role. She unfortunately only made one other movie after this, Chesty Anderson,USN (with Timothy Carey!). She will always be remembered by lovers of trash cinema everywhere.

You haven't lived until you've seen Supervixens!

I dont know why i liked this movie. It have some exaggerate moments but i felt that some womens were not ashame to take initiative and show their bodies and they are not ashame to talk about sex and i felt that this is completely not the same thing in society and i felt that the exaggerate moments pretty unconventionnal and pretty interesting in some ways.

Russ Meyer is a God who succeeds in creating his own utopist universe over and over again. This film is just brilliant, even though the entire prudish and easily offended world will never admit it. Yes, it's a sexfilm… So what if it is? And besides, apart from that it also is a truly ingenious comedy and a cruel satire. After his more pretentious (but equally terrific) portrait `Beyond the Valley of the Dolls', Meyer falls back on the themes and ideas that gained him his first successes. This being the adventures and misfortunes of a young protagonist on the run. Falsely accused of murdering his girlfriend, a handsome man hitchhikes across rural America. Everywhere he goes gorgeous, voluptuous nymphs sexually harass the poor, poor guy (???). Isn't life hell? Charles Napier is excellent as the psycho cop, while the `vixens' are too hot to handle! Every single girl who walks through the screen here looks like a fantasy come true. Supervixens constantly features cheerful music and the screenplay is very funny. Although I can imagine not for all tastes, I personally laughed sick when the Austrian chick starts squealing German while making love! Russ Meyer often reuses stuff that also featured in his earlier movies. Like the snakebite or even the entire climax which is a more explosive update of the `Motor Psycho' ending. Not too original but who cares? He's Russ Meyer so he can do anything he wants! A fellow fan stated in his user comment that you haven't lived until you see Supervixens, and I couldn't have said it better. A must!

The thing about Russ Meyer films is that from one to the next, you never truly know what you're going to get; watching one will not prepare you for another. Just about the only guarantee one has is that the result is going to be outrageous and over the top, explicit and exploitative, tongue-in-cheek and tasteless; it's no wonder that John Waters derived such clear influence from Meyer. For all the substantial sex, nudity, and emphasis of women's bodies, there's also an obvious kinship with outright sex comedies, except this filmmaker has tended to demonstrate that he's smart enough to generally aim for witty, sardonic sensationalism over cheap raunchiness. 'Supervixens' embraces all this and more, including even more severe violence, and (if possible) even more severely caricatured female characters. Anyone who can't get on board with such deliberate sleaze won't find anything here to change their mind, yet for those who can appreciate the slant, this is (mostly) ridiculous fun!

There are times when this seems too especially close to veering into self-indulgence, or leaning too hard into its Anything Goes mentality. The dialogue includes some needless homophobia and racism, for example. More significantly, I did say Meyer "generally" aims for wit over cheapness, and that this is "mostly" fun. For, insofar as the introduction of each new female character can effectively represent a different segment, almost as if in an anthology flick (as Meyer himself has more or less suggested), the man also seems intent from one "vignette" to the next on at least one inclusion that truly is base and crude, pursuing abject vulgarity over more meaningful cleverness. The overall intent of near-parody remains very clear, but - seemingly in reaction to two immediate predecessors that went a different route - Meyer's return to pure ballyhoo with 'Supervixens' apparently opened new channels of absurdity. Like a car fishtailing in poor driving conditions, Meyer overcorrected with this feature. As if to accentuate the point: the narrative writing is strongest at the beginning and the end, which is also where the dark, off-color humor is at its most intelligent, where the film is otherwise and in all other ways at its best - and not coincidentally, where the tawdriness is relatively downplayed.

Still, even at the picture's most genuinely ill-advised, one can hardly get mad at Meyer for doing what he wants to do - which is why we love him in the first place. Even when this goes too far, it still fits in neatly with the type of movie the man has made throughout his career, twisting together (in varying proportions) sexy kitsch, satire, downright silliness, and occasionally real plot. It's well made in every regard, from writing, direction, editing, and cinematography, to acting, music, stunts, and effects, even as each is bent toward definite cheek. I think this would have benefited from some healthy self-restraint, or maybe just one collaborator to tell Meyer "no," but all the same it's quite capably entertaining, if distinctly uneven. In both the filmmaker's oeuvre specifically and certainly cinema at large there are other movies that are a lot more enjoyable, and that should take priority for a viewer over this curiosity. Nonetheless, for all its excess and bombast, 'Supervixens' remains a fun, ludicrous romp, modestly worthwhile on its own merits; most recommendable for those who appreciate the campy zest of Meyer's other titles, or similar fare, this may not be perfectly essential but is a good time if you come across it.