VideoXploiter
This is my second Russ Meyer movie (the first being 'Up!') and I am beginning to see a pattern -- tell a non-nonsensical story full of the naked women. The naked-est and most beautiful of them all is Shari Eubank. She is one of the most gorgeous women I have ever seen, and we get to bask in her fullest glory. Aside from the T&A, Charles Napier is memorable as the main antagonist. He was born to play the douche-bag you'd love to see get run over by a truck. In the right state of mind, this is an enjoyable flick, but it helps to be inebriated.
MisterWhiplash
Russ Meyer loves breasts, and he's a filmmaker, but it's mostly the breast thing. That doesn't mean that he's not good at what he does, which is making raucous comedies where there's a dumb, well-hung klutz (Charles Pitts, in thankfully his only significant point in his career as Clint Ramsey), the dual role of the schizo-girlfriend (SuperAngel) and later her re-incarnation as a gas station attendant (SuperVixen), and the enemy of the film, the diabolical, totally evil Harry Sledge (Charles Napier, a classic part in a long character actor career). Much of this is just silly, very silly, and strange, deranged, illogical, and probably would be seen on the surface as sexist. But looking past the fact that there are a lot of naked women who continually throw themselves at Clint, there is something more to Meyer's psychology here. It would probably be something of a big point had the film been used in Zizek's The Pervert's Guide to Cinema: it's like a classic farce- yet still a somewhat truthful farce- about male desire.Take the fact that while Clint is on his 'journey'- running from the scene of a crime he didn't commit, which was the murder and burning down of the dig that SuperAngel was living in- he continually gets into situations where the women present want to desperately ride him till Tuesday...but then there's always another man. There's a fascinating push-and-pull (no pun intended...maybe a little) to how the men treat the women in the picture. Until Clint agrees to stay with SuperVixen and take care of the gas station does he finally seem to relax, as before with the guy in the car, the farmer, the motel owner, all had women as their next of kin or significant others that were persona non grata. Behind the hilarity that ensues as Clint gets practically raped in a hayloft by a German girl, or when a mute/deaf black chick tries to get Clint to have his way with her in a desert, there is subtext- desire is defined by property. By the time Clint gets to SuperVixen, and finds out her man ran out on her weeks ago, it's like they're suddenly whisked away to the Garden of Eden (rather, in Arizona, as is one of the funniest sections of the flick), as they run around naked in ecstasy. Freud would have a field-day.But one must not forget the Harry Sledge character who, like Hopper in Blue Velvet or Bobby Peru in Wild at Heart, is as Zizek described a larger-than-life, absurdist figure of man's libido. Maybe it was subconscious or not, but there's a lot to do in Supervixens with the idea of potency, or impotency. Harry can't get it up, the truth of it, and it becomes a sudden turn to see Harry suddenly stomp SuperAngel (albeit, in one of the most illogical scenes I've ever seen in any movie, taunts him for five minutes while locked in a bathroom following a bad sexual experience) and burn the place down as a means of compensation, an inherent lack of drive leading to the demise of anyone around him. While this seems to go overboard in the last twenty minutes of the film, when he returns in and becomes an ultimate terror upon Clint and SuperVixen, there's probably more one could read into in terms of symbolism than your average Bunuel movie: the dynamite shooting out of a chute, the one stick next to SuperVixen's most private of private spots, and all raised to the level of delirium.The more I thought about it after the movie ended, the more it seemed to make sense, the idea of the ID blown-up in, of all things, a Russ Meyer movie. But this will be moot to most viewers who are just looking for what it there in a Meyer movie- sex and craziness, usually at the same time. As the first of his films I've seen, it's already apparent how equally proficient and tacky he can be: he's a master at editing, and casts his actors like it's a slight step above Z-grade porn. Which, of course, adds to its hysterical attitude, as we see one of the worst male actors of the 20th century play off of girls who rarely have a dirty smile off of their faces (save for when they're taunting Sledge, or getting caught by their daddies or husbands). And because Meyer, in the Mel Brooks sense, rises below vulgarity, his picture works so well even as it shouldn't. It deserves to be shown in grindhouse theaters and be found in the dirty sections of video stores. That it's an unlikely classic to be found in either of those places is hard to deny.
The_Void
Russ Meyer sure did know how to deliver an amazingly good time, and Supervixens is without doubt one of his very finest hours! Like all Russ Meyer films, this one is completely over the top and every bit an epic, as Meyer crams in a ton of sex, violence and ample chested girls into the sprawling and often hilarious plot line. The film is completely wayward and since the base of the plot is solely focused on one guy travelling without aim, it means that Russ Meyer can pretty much do whatever he likes - and that's clearly what he did do! The lead character is Clint, a gas station worker married to 'Super Angel'. Clint has a problem - women can't keep their hands off him, and this is not pleasing his wife who believes he is playing away and kicks him out after a fight. She then hooks up with the local policeman, whom she ends up winding up and later finds herself dead. Naturally, Clint is the number one suspect for the murder; so he decides to skip town. He then sets out on an aimless odyssey, and meets numerous characters along the way, many of which happen to be big breasted ladies...Supervixens really is a dream film for anyone who loves over the top gratuity. The film is pure comic genius from start to finish and Meyer provides the audience with a constant stream of ridiculous goings on, and it's always great fun to watch. The lead ample chested vixen is Shari Eubank; she only made two films in her career, and that's a shame as she has real charisma and, like the rest of the girls in this film, looks great too! Charles Pitts is good enough as the leading man, but Charles Napier is the one that really stands out as the psychotic copper! Napier is really at home in this role and clearly enjoys it too. Supervixens is great entertainment throughout and doesn't get boring for a second. There's a constant source of amusement and I'm sure that this film will please most viewers. Some of the scenes in this film (particularly around the start of the film) are absolutely stunning and it has to be said that Meyer has really done something special with this film. Overall, it's probably quite clear what I think of this film - it's seriously good stuff! And everyone should give it a go!
john22900
Along with the later UP!, Supervixens has almost as much sex as it does violence. The screen time given to both is about equal this time whereas in the past, Meyer seemed to tilt more toward violence than sex with a couple of notable exceptions like Vixen. That said, Supervixens can be described as sort of a road trip movie. Our hero works as a gas pump jockey for Martin Borman's Super Service with a wife who alternates between super horn dog and bitch extraordinaire and unfortunately does the transformation with the greatest of ease until a psycho cop, played by Charles Napier, ends her bitchery for good by stomping her to death in her overflowing bathtub and then dropping a plugged in toaster into it, electrocuting her to death and causing a full out blaze that completely destroys the house. Our hero is blamed for it and is hunted by the policeman responsible for doing the deed so our hero must take it on the lam and in doing so runs into a whole array of huge breasted females on the make for him including in the funniest scenes of the picture, Uschi Digard as a mail order Austrian bride of Stuart Lancaster's farmer. Ann Marie who must be seen to be believed also makes an appearance as well as one of Richard Pryor's wives - Deborah McGuire - as a deaf mute. Everything comes to a happy ending for our hero and his new girlfriend, who is a reincarnation of his first wife, the super-bitch but this time without the bitch part.
