BENEATH THE VALLEY OF
THE ULTRAVIXENS
(1979)
An all out assault on today'sexual mores,
and
more; an end-around attack against women's lib; blasting through the
male machismo syndrome; kicking the crap out
of convictions, hang-ups, obsessions; sexually aggressive females,
willing klutzy men, petroleum jelly, gingham
and gossamer, tax-sheltered religion, black socks, bedroom prowess,
bunko artists, big breast fixation, rear
window
rednecks, therapeutic cuckolding, the sixty mile-an-hour zinger,
born again immersion, unfaithful girlfriends,
limp-wristed dentistry, and virile garbage men.
With Kitten Natividad; written by Roger
Ebert
(1:30) (A/A)
BEYOND THE VALLEY OF THE DOLLS (1970)
A racy, colorful tale about an uninhibited all-girl rock group is
not a sequel to it's predecessor, Valley of The Dolls,
despite it's title. Filled with some
of the most bizarre characters and situations ever seen on film, it
spans
nearly
every film genre - comedy, musical, horror,
murder, sex and melodrama. When three female rock'n'rollers travel to
Hollywood to claim an inheritance, they meet
up with a kinky music promoter who turns them on to a whole new scene.
At first, it all seems very exciting and the
naive trio becomes submerged in his dangerous tinseltown underworld -
before they discover his true motives. Written
by Roger Ebert, this racy psychedelic extravaganza was one of the
most talked about film sensations of it's
time. (1:45) (A/A) letterboxed
BLACKSNAKE (1972)
Instead of focusing on the over-sexed life of a
pneumatically-blessed
heroine, Meyer gives us a cruel, sadistic
plantation owner named Lady Susan. She owns an entire Caribbean
island and she rules it with a leather whip,
which she frequently applies to the backs of her slaves. A
harlot easy to hate! The lustful Lady Susan . .
no man, black nor white escapes her island, nor her whip!
A film nurtured by terror and cruelty!!!
( : )
( / )
CHERRY, HARRY, AND RAQUEL (1969)
A menage a trois loosely translated by Meyer; an incisive probe
into
the very soul of those people
that both profit and lose as a result of the
heinous narcotics racket. A dusty Arizona border town and
vast expanses of baked desert provide the
magnificent scenic backdrop for fast cars,
blazing guns, and super-ample women, each
and all hot! (1:12) (A/A)
COMMON LAW CABIN (1965)
A busted-out tourist trap under Arizona's hot desert sun; a way
out,
raunchy dude ranch,
far enough up river from town to escape theprying-eyed,
suspicious curiosity of the law; a slow,
simmering look at three fast-boiling women
at the mercy of themselves, their twisted morals,
their insatiable appetites -- Alaina Capri
as the melon-breasted Sheila, a roman candle too hot to handle,
going through men like a box of matches!
Babette
Bardot, vast of bosom, an uncommon common-law wife.
Adele Rein as Coral, an innocent girl, lost
in the full-blown body of a woman, coveted by three men, one her father!
(1:10) (A/A)
EVE AND THE HANDYMAN (1960)
Meyer's versatility with the camera has remembered what
other
message-making film men forget: to entertain.
But that should not mislead the rollicking viewer from appreciating
Meyer's satiric handling of themes like
sex realism / the economics of supply and demand / harassing the
poor consumer / wasteful technology /
the overly dramatized mystery of modern medicine / the climatic
pleasure of the happy ending. With Eve Meyer.
(1:05) ( / )
FANNY HILL (1964)
Meyer's adaption of the infamous banned erotic novel by John
Cleland
(first published in 1749), about a
young woman who encounters new adventures as the companion to a
madam in a house of ill repute.
Starring Miriam Hopkins. (1:45)
( / ) - UR
FASTER PUSSYCAT! KILL! KILL! (1966)
The story of a new breed of superwomen
emerging
out of the ruthlessness of our times. We are
introduced to three buxom Go-Go girls: Varla,
Rosie, and Billie, wildly dancing the Watusi before the leers,
jeers and lecherous come-ons of their drooling
all-male audience. The violence, implicit in the girls' tease,
is quickly moved out of the microcosmic bar
into the outside world as they literally let go of themselves,
embarking on a wild, violent, deadly journey
of vengeance on all men. (1:23)
(A/A)
FASTER PUSSYCAT! KILL! KILL! (1966)
laserdisc version with Russ Meyer commentary track (1:23) (A/A)
FINDERS KEEPERS, LOVERS WEEPERS (1968)
The flesh, fantasy, and action, unencumbered by parlor analysis
or
suburban sociology.
Russ Meyer's spirited ruttings happen on pool tables, in showers,
in swimming pools, even in bed!
Up front with the bosom brigade! Get a good grip on your popcorn.
(1:12)
( / )
GOOD MORNING AND GOODBYE (1967)
Russ Meyer has made an honest motion picture which explores the
deepest
complexities of life,
as applied to love and marriage in these United States. The
characters
are identifiable, perhaps even familiar.
For those who measure success only in the hours before the morning
light.
(1:18) ( / )
THE IMMORAL MR. TEAS (1959)
America's first classic skin-flick. Up until the late fifties,
the
only pleasures that the raincoat brigade,
the salesmen killing a couple of hours, and the people generally
interested in dirty movies had access
to were films depicting nudist camps, French or Italian imports
with a smattering of sexual content,
and what might be described as "Early Forty-Second Street."
This film changed all that, for here was
a film that dared to laugh at all the pretentiousness of its
predecessors,
and quite unabashedly for the first time
depicted the living pinup, the mythical woman, the unblemished,
unpimpled, unsweaty, hothouse fruit,
which could never be fondled or touched, only looked at and dreamed
about. (1:03) ( / )
LORNA (1964)
Ever wonder why wives wander? Without artistic surrender,
without
compromise, without question or apology,
this film graphically portrays the emotions of a voluptuous young
wanton. Lorna, married for one year,
yet never fully gratified by her husband, is left alone too long,
too often. But Lorna is a woman too much for
one man, and although she is loved by her husband and desired by
another, she finds fulfillment in the arms of a brutal stud.
(1:19) ( / )
MONDO TOPLESS (1966)
Way out, wild undulatory movement! Go-Go Girls, in and out
of their environment,
baring far more than their souls. (1:00)
( / )
MOTORPSYCHO (1965)
Three motorcycle-riding hoodlums, led by an ex-Vietnam veteran,
brutally
beat an unsuspecting fisherman before the
eyes of his voluptuous wife and proceeds to physically assault her.
Their voracious appetites for criminal violence
still unsatisfied, they proceed to terrorize the wife of a young
veterinarian. Revenge is in order as the angry
husband takes the law into his own hands, which results in a
dangerous
desert chase. (1:14) ( / )
MUDHONEY (1965)
a film that runs the gamut of
emotions:
love, hatred, sadism, passion debased by lust,
leaving its taste of evil. (1:33)
(A/A)
THE SEVEN MINUTES (1970)
NEW! RUSS MEYER'S "LOST FILM"! Detailed description coming soon.
SUPERVIXENS (197?)
Russ Meyer's SUPERVIXENS is the epitome of twenty years of
gut-tearing
film making, a rural "Fellini,"
geared for the young and old alike, the
sophisticate
and the blue collar. A picture born to entertainment,
shocking in its frankness, yet so hilariously
funny in its delivery. A cinematic
smorgasbord of erotic fantasy. Feast
on it! (1:45) (A/A)
-
OP
UP! (1975)
Russ Meyer's "tried and true" formula is on-target again:
outrageously
buxom women and
dumb,
muscular men laying their sexually aggressive
prowess on the line. Two-timers, cops, robbers, joints,
and mind-boggling, bra-busting women, plus
the usual assortment of good lookin', virile, awesomely hung, klutzy
men.
There's always somethin' BIG about a Russ
Meyer movie! (1:20) (B/B) - OP
VIXEN (1969)
This film will jar your senses, jerk your emotions,
straddle
your soul. The mind-boggling Erica Gavin,
the standard by which all "voluptua" must be measured.
Vixen: is she woman, or animal?
(1:11 ) (A/A) - OP
+ Meyer trailers
WILD GALS OF THE NAKED WEST (1961)
A hilarious parody of the Hollywood Western ... cruel men and
their
voluptuous women! Into this cesspool of life rides our
would-be hero. Not the usual hero connected with the typical
Hollywood Western movie; instead, a man just barely 5 ft. tall
and riding a burro! Our hero is picked up by the scruff of
his neck and thrown bodily out of the saloon into the
dusty western street. But he returns, now attired in the
outlandish
mode of the Hollywood cowboy:
a ten-gallon hat powder blue, the suit a brilliant orange,
purple boots with a big "diamond" on each toe,
and last but by far not least, a pistol three (3) ft. long!
Our diminutive hero proceeds to clean up
the town from stem to sternum, and in a very business like
manner, to the "god-like"
worship of the heroine, Goldie Nuggets.
(1:02) ( / )
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