SUPERVIXENS (1975)

With its audacious, astonishing, Christy Hartburg-emblazoned one-sheet that reminded audiences that Russ Meyer loved boobs as much as flamboyance, 1975’s Supervixens roared into theaters specifically designed to make the money that had eluded him with The Seven Minutes and Black Snake. But aside from its return to home base to generate some much-needed commercial appeal, […]

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GOOD MORNING… AND GOODBYE! (1967)

Back in the midst of something that could pass for civilization after the remote and riparian rumpus that was Common Law Cabin, Russ Meyer began to sharpen his satirical knives with Good Morning… and Goodbye! Raucous and horny, sweaty and dirty, Good Morning…and Goodbye! mixes elements from almost every Russ Meyer film that came before […]

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FASTER, PUSSYCAT! KILL! KILL! (1965)

In the opening seconds of Faster, Pussycat! Kill! Kill!, Russ Meyer marries sex and violence by employing a stern narration that explicitly welds the two together over the visual of the ever multiplying, squiggly optical soundtrack that quickly fills the frame like a hostile takeover. The narration warns the audience that you’ll never know where […]

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MUDHONEY (1965)

Fresh off the dizzying success of Lorna, Russ Meyer’s first foray into 35mm narrative filmmaking that cost somewhere around $60K and grossed $1 million, the filmmaker packed up two of the film’s stars and stretched the sparsely cast morality play across a wider area, cloaking it in the skin of Streets Paved With Gold, a […]

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