If you are curious about watching a Russ Meyer film, they don't come much more enjoyable than Supervixens. You've got all the Meyer elements in this little classic, including the buxotic women in abundance, copious nudity and softcore sex scenes, the bordering-on-bizarre dialogue, the glorious cinematography, the razor-sharp editing and this time around, some pretty severe on-screen violence. It's the total package folks, and I'd happily recommend this one as a good starting point for those new to Meyer's ouevre.
As we hear the strains of "Heil Hitler Dier" - which seem to feature in every second Meyer film - we meet Clint Ramsey (Charles Pitts) a good-looking Vietnam Vet pushing a gas pump somewhere in Arizona. He works for Martin Bormann (Henry Rowland), owner and Nazi enthusiast. As he tries to do his job, a typical Russ Meyer woman (read, beautifull and huge-breasted) turns up and tries to seduce him. However, his live-in girlfriend Angel (gorgeous Shari Eubank) is horny and wants him home. As Clint makes his excuses to Angel on the phone, she somehow ends up talking to the would-be seductress. As Bormann takes over the phone, Angel demands that Clint come home. Bormann tells Clint that "The Fuehrer" wants him to "mach schnell" home. Clint obeys.
At first, the lingeried Angel and Clint make love, but then things turn nasty. Angel, though beautiful, has a foul temper and accuses Clint of adultery. They fight, verbally at first, then things get physical. Clint tries to leave, but Angel takes an axe to his truck, as well as various rocks! He tries to stop her, and a neighbour calls the police. Cop Harry Sledge (Charles Napier) shows up and knocks Clint out with his night-stick. Clint revives, and Harry tells him he's going to give him a break and tells him to leave. Angel is taken to hospital, and Harry shows up, to find out more about the case. Angel thanks him for beating Clint, and hints that a physical reward could be in store for him. Clint tries to return but ends up leaving completely, after being abused and belittled by Angel.
Harry shows up later at Angel's place, and after they attempt to have sex, Harry turns out to be impotent. The cruel Angel mocks him so badly that he goes berserk and attacks her. She attempts to lock herself in the bathroom, but after enraging him even further, he breaks through the door and stomps her into a bloody mess in the bath. Finally he throws a radio into the water and electrocutes the near-dead Angel. This is one intense, savagely violent scene! I haven't quite seen its like in a Meyer film before, and it hits the viewer with a big impact. Later, as Harry leaves, the wiring catches fire and the house burns down, burning Angel's body to ashes with it.
At first, Martin blames Clint, but then believes his innocence, and gives him enough money to get away and lie low. Out on the road, he hitches a lift with a swinging couple who after making a pass at him, beat and rob him when they're rejected. A passing middle-aged farmer, Lute (Meyer regular Stuart Lancaster) takes him home and feeds, shelters and heals him. His voluptuous Austrian mail-order bride Soul (one of the ultimate Meyer women and cult icon, Uschi Digard) takes a shine to him. When she isn't milking cows in a suggestive way, Lute and Soul have sex all over the farm. In the end though, it's Clint that Soul wants, and she leaps on him in a barn while he does some farm work. During this scene, Soul talks incessantly dirty in German. After the sex is finished, Lute discovers them and enraged, chases Clint off the property. He then punches Soul to the ground and commands her to fix him some dinner - to which she replies with a Nazi salute, "Ya, mein herr!". See a pattern of interest here? Lute ends up falling over and impaling his ass on a pitchfork.
Clint spends a night in a cheap motel, but the black, deaf and mute daughter of the hotel owner, Eula (Deborah McGuire) convinces him to fix her dune buggy - a very cool car - and go for a ride in the desert. Her domineering father comes looking for her with the bumbling local sheriff, in another dune buggy mind you, and Clint flees before the topless Eula can have her way with him. However she's soon satisfied by a black weightlifter - complete with weights and leopard-skin loincloth- who seems to turn up out of nowhere! Of course, magically Eula discovers the power of speech to convey her ecstacy.
Meanwhile, in the desert, at the top of a slim mountain, fire suddenly explodes upward and Angel's naked spirit appears. There's a trickle of blood down her face but she smiles knowingly. Down on the ground, Clint meets the sweet Vixen who runs "SuperVixen's Oasis", a humble little truck-stop. Vixen is the complete double in appearance of Angel, but where Angel was abrasive and mean-spirited, Vixen is kind and soft-hearted. She's also the opposite of Erica Gavin's Vixen character in Russ's film Vixen of seven years earlier. They soon fall in love and Clint decides to stay and help "Vix" run the place. Angel's spirit seems to approve.
Trouble isn't far away though. On a fishing trip, Harry shows up and recognises Clint, although Clint doesn't seem to do the same as Harry had confronted him in sunglasses and helmet in the past. Harry sees Vixen and becomes determined to do away with them both, and remove all witnesses to the crime he'd attempted to do before. He tricks Clint into going on a fishing trip with him. Harry then backs out, claiming to be sick, then kidnaps Angel and lures Clint, via CB radio, to the same mountain top where the spirit of Angel flamed up. Beating and chaining Vixen to a rocky ledge, the grinning maniac, now sporting a beret, throws sticks of lit dynamite down on Clint. Fighting back, Clint is shot repeatedly but still battles on to save Vixen, who know has a lit stick of explosive placed near her crotch! Will Clint and Vixen's love prove strong enough to overpower the evil of Harry?
If this plot summary sounds like a mouthful, I still haven't covered a heap of the incidental characters and scenes. Supervixens is crammed full of little shots of oddball characters having sex, naked telephonists on railway tracks, and sundry other delights. The actors are fantastic, one and all. Charles Napier's Harry is a marvel of white-toothed, sadistic glee. His ferocity when he kills Angel is a sight to behold. The ludicrously gorgeous Shari Eubanks is just as wonderful playing the nasty Angel as the almost saintly Vixen. Charles Pitts as Clint plays angry, confused, bemused and irresistable to women all in one breath. Even though their situations are patently ridiculous, you still care for these characters and their fates. The support cast are all great, such as Stuart Lancaster's trusting farmer Lute - who turns appropriately savage after his betrayal from Uschi. Oh, Uschi, nothing more really needs to be said, other than this living avatar of sex lights up any film she's in. The sex scenes are all erotic, the women all jaw-droppingly beautiful. The film-making in general is spot on, with Meyer making fantastic use of the mountains and desert settings. The director himself makes a lightning-quick cameo, see if you can spot it.
You may be beginnng to suspect that I love this film. Guilty as charged. Probably my favorite Meyer film, Supervixens has it all for any cult film enthusiast. Don't hesitate to give it a view if you can, and it looks especially wonderful if you can catch it on the big screen.
© SuperBoris, 2006.
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Review written: 03/09/2006 19:37:47