After a couple of commercial misfires - The Seven Minutes and Blacksnake - Russ Meyer returned to his original style with Supervixens. But seeing that it was now the mid 70's and the times were a changing at great speed, his old formula was magnified a hundredfold, ensuring that this was, by some margin, his most extreme movie by this point in his career. The story about an innocent man framed for a murder he didn't commit and then going on the run, is merely a framework for a road movie in which our protagonist has a series of bizarre encounters with a variety of busty babes he meets along the way. While it is essentially a sex comedy, it is tonally quite insane, with a very brutal murder mixed in with the knockabout humour. That said scene has Charles Napier's character, Harry Sledge viciously stomp Shari Eubank's character SuperAngel to a bloody pulp in her bath and then electrocute her to death! It stands out alarmingly within this otherwise madcap jaunt. While Meyer had often included violence in his prior films, this scene alone ensures that Supervixens is easily his most violent movie.
But not to worry some things remain the same because Supervixens is more prominently about huge breasts and the myriad of ways in which they can be immortalised on screen using a variety of unusual camera angles and edits. And with women of the calibre of Collen Brennan, Deborah McGuire, Uschi Digard, Haji, Shari Eubank (in a dual role) and Christy Hartburg (she of the iconic poster) being on screen, then you can't really go wrong with Meyer at the controls. However, Meyer being Meyer, its not enough to leave it at that and all these women - for no reason other than it's a great sounding idea - go under the monikers of SuperEula, Super Haji, Super Lorna, Super Cherry, SuperSoul, SuperAngel and, of course, SuperVixen. This all adds to the fantasy nature of the thing - we even have some supernatural goings-on on a mountain top, while the finale resembles a Wile E. Coyote cartoon. Oh, and Nazi war criminal Martin Bormann turns up...again! The result is a fantastically shot and edited movie, with a truly off-the-charts feel to it. It is horrendously violent at one point but mainly its an erotic and fun celebration of (very) pneumatic women. And I have no argument with that.
But not to worry some things remain the same because Supervixens is more prominently about huge breasts and the myriad of ways in which they can be immortalised on screen using a variety of unusual camera angles and edits. And with women of the calibre of Collen Brennan, Deborah McGuire, Uschi Digard, Haji, Shari Eubank (in a dual role) and Christy Hartburg (she of the iconic poster) being on screen, then you can't really go wrong with Meyer at the controls. However, Meyer being Meyer, its not enough to leave it at that and all these women - for no reason other than it's a great sounding idea - go under the monikers of SuperEula, Super Haji, Super Lorna, Super Cherry, SuperSoul, SuperAngel and, of course, SuperVixen. This all adds to the fantasy nature of the thing - we even have some supernatural goings-on on a mountain top, while the finale resembles a Wile E. Coyote cartoon. Oh, and Nazi war criminal Martin Bormann turns up...again! The result is a fantastically shot and edited movie, with a truly off-the-charts feel to it. It is horrendously violent at one point but mainly its an erotic and fun celebration of (very) pneumatic women. And I have no argument with that.