Russ Meyer's return to independent filmmaking after his failed Hollywood ventures, SUPERVIXENS is primarily for Meyer cultists, and even they may be put off by the film's length and excessive violence.
After demanding that her boyfriend Clint Ramsey (Charles Pitts) leave work to come home and make love to her, sexually voracious SuperVixen (Shari Eubanks) starts a knock-down public fight with him. It's broken up by cop Harry Sledge (Charles Napier) who advises Clint to go back to work and let
Vixen cool off.
Vixen invites Harry over that night, but when he is unable to perform sexually with her she ridicules him mercilessly. Harry slugs her in the stomach, but she escapes into the bathroom. Thinking herself safe, Vixen starts taunting him again, until the enraged cop breaks down the door and beats her
to death in the bathtub.
Fearing he will be blamed for the murder, Clint hitchhikes out of town. His travels bring him in contact with three women--SuperCherry (Sharon Kelly), SuperSoul (Uschi Digard), and SuperEula (Deborah McGuire). Each tries to seduce him, and while Clint rejects all of their advances, he gets into
trouble anyway with the men in their lives.
Clint eventually finds a new home at the roadside cafe run by SuperAngel (Shari Eubanks), SuperVixen's double in everything but personality. They are happy until Clint is spotted by the vacationing Harry. Luring Clint away, he kidnaps SuperAngel and chains her to the top of a rock formation. When
Clint arrives to rescue her, Harry attacks him with dynamite and blasting caps. They are saved only when Harry is blown up by his own explosives.
In the 1960s, an era when "adult" movies were almost entirely the product of anonymous performers and filmmakers, Russ Meyer won a following of viewers who recognized his distinctive style and sought out each new film. After five years spent on projects (the Hollywood-backed and rejected BEYOND
THE VALLEY OF THE DOLLS, the oh-so-serious THE SEVEN MINUTES, and BLACKSNAKE, a misfired attempt to move in a different direction), Meyer decided to return to his core audience. SUPERVIXENS is almost obsessively concerned with references to Meyer's earlier films: just about every character and
situation here is reused from MOTOR PSYCHO (1965), MUDHONEY (1965), GOOD MORNING AND GOODBYE! (1968) VIXEN! (1968), and CHERRY, HARRY AND RAQUEL (1969).
Unfortunately, while long-time Meyer aficionados will enjoy playing "spot the reference," other viewers will be worn down by SUPERVIXENS' draggy pacing and excessive length. Always an able craftsman, Meyer has strung together a number of scenes that work better by themselves than they do as a
whole. But what most hurts the film is Meyer's misjudgment regarding the tone of the violent scenes. Meyer claims that he intended the bathtub murder scene as a parody of violence, but while later scenes in the film are more clearly campy, this is simply horrifying. Coming as early as it does,
this scene casts a pall over the rest of the film, particularly the protracted ending in which Harry torments Clint and SuperAngel for what seems like hours. (Graphic violence, extensive nudity, sexual situations, adult situations, extreme profanity.)
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- Released: 1975
- Rating: X
- Review: Russ Meyer's return to independent filmmaking after his failed Hollywood ventures, SUPERVIXENS is primarily for Meyer cultists, and even they may be put off by the film's length and excessive violence. After demanding that her boyfriend Clint Ramsey (Cha… (more)