Faster, Pussycat! Kill! Kill!

source: Faster, Pussycat! Kill! Kill!

This is the type of movie that inspired some of the big directors of our time, but it's worth has gone down now that movies made like it can be filled with better actors. That is the flaw of this film, there is a general feel of deliberate sleaze, but it is marred by the inability of the actors to fully push it. Kill Bill is a good example of a movie with some deliberately horrible dialogue that is fun because the actors are good enough to know how to say it. The highlight is definitely Tura Santana, who looks like Elvira on wheels. She lets her cleavage hang low and wobbles to and fro, she rolls around in the dirt throwing karate chows at a man in plaid shorts, and she seduces a country boy with her superior corn eating skills.

This is absolutely meaningless and artistically worthless, but if it hits you in the right mood you may actually enjoy it. There is an improvisatory feel to it - how else can you explain the tons of bad dialogue and the cheerfully incoherent script ? Russ Meyer was probably one of the first - and few - filmmakers to deal explicitly with the link between sex and violence and to reverse the roles of the standard action movies, but technically his film is too cheap and amateurish - apart from a really gripping final fight scene. (**)

I really wonder what kind of people like this movie. Because unless a lot of people liked it; this film will never get the rating it has now(6.8/10). This film has all the necessary quality to be an adult film. All the director has to do is to add some adult scenes. This film does not belong in the action and comedy genre. All it has some rolling around in the ground in the name of action but actually there is no action. And in a sense there is a lot of comedy because the acting of all the actors and actresses is hilarious. Moreover the film has no story to enjoy. Sometimes a good story can make you enjoy the film even the acting was lousy. But alas that is not the case for this film. I can guarantee you that, there is not even a single aspect in this film that you might like. NOT RECOMMENDED.

Expectations were very high when watching this, but its not Russ Meyers best. The superwoman are tough as nails or as a velvet glove dipped in iron as they say, almost all lines of the movie is memorable, Tura Satana and co shouts them out in the coolest fashion and this makes up for the strongest feat of the movie. I promise you'll laugh more than a few times by them.. Its cousin 'Motorpsycho' however was more accomplished than this was. The story doesn't have as much potency (no pun), the girls are good, but not all that and the absurdity reached in 'Supervixens' and 'Motorpsycho' is not reached here. Its still a campy classic though.

Faster, Pussycat! Kill! Kill! (1965) ** 1/2 (out of 4) Russ Meyer film about three big breasted strippers who murder a man, kidnap his girlfriend and then hold up at an old cripple man's house so that they can steal some money from him. I know this here has the biggest cult following of any Meyer film thanks in large part to the three ladies but I found the film to be pretty much overrated. I enjoyed several other "lesser" Meyer films a lot more but this one here just seemed to be missing the humor that the other films had. There's some unintentional laughs like the cripple man who is constantly using his legs but other than that the film just didn't work. It remains entertaining throughout but it's certainly behind other titles.

Please, take it from one who, until tonight, foolishly and ignorantly pigeonholed Russ Meyer as a Grade-B Soft-Core cult hero. What did I know? He's so much more than that. Think really good John Waters crossed with really bad Fellini (which is good, of course, in its own way) and you have just a hint of the inspired wickedness here. Three mean chicks in sports cars, on a road trip from hell, back in a blistering hot, black-plate California desert. The script is undisguised genius and the performances (particularly, of course, the sadistic, sneering Tura Satana) cross most known bounds. But you know what? Even with that firebrand in the lead, the others hold up incredibly well. Meanwhile, the cinematography is spot-on for the theme here, tilted and trenchant. The overall effect: bracing--blinding, almost--and more than a little surreal. FASTER, PUSSYCAT KILL! KILL! It's hideous and hip. Nightmarish, and nasty. Scathing and scabrous. Insane, but inventive. It's not a film for everyone. Some will call it sick, some will dismiss it as camp. It's all that and more. Hardly a wrong note, and with *so* many opportunities too... I was glued to the screen from beginning to end. Wicked fun. Captivating. Can you tell I liked it? PS: Also recommended for fans of NHB, male/female bare-knuckle boxing. You know who you are ;)

Russ Meyer's 1965 cult classic "Faster, Pussycat! Kill! Kill!" has all of the earmarks of 60's kitsch, but comes at you with such no holds barred gusto as to allow it a place all its own. It would be hard to refer to it as "the kind of film that" or "it's like this or that", because it truthfully stands alone. If anything, most of the relationships this film has to anything else have been forged with the pop culture it inspired. Given it really has one at all the film's plot revolves around a trio of tough women who are go-go dancers by night and wickedly violent speed demons by day. During one afternoon in the middle of the desert they encounter a young couple. Ultimately, one of the women kills the man, kidnaps the young woman, and attempts to use her as bait for a dirty old man and his sons. There's little rhyme or reason to most of what happens, except as an amped up display of well-endowed, sexually engaging women and raw, in your face violence. This highly lauded film among the art house and drive-in set is great, juvenile fun, with some exceedingly memorable, albeit corny, dialogue.

While there are some who argue that it is a pro-feminist flick with lots of social significance, truth is FASTER PUSSYCAT KILL KILL is a very deliberately made bit of ultra-drive-in trash, a movie that glories in all things low-brow, low-rent, and low-neck lined. And it has a cast that makes up for their collective lack of talent with lots of attitude and lots of cleavage. The story is as hooty as the cast. Tura Satana, she of the lethal chest, leads minions Haji and Lori Williams away from the grind of their jobs at the go-go joint and out into the desert. They race their cars. They wrestle in the water and then in the sand. They dance the watusi. They bump off this guy who shows up wearing plaid shorts. (Given his attire you might read this as a mercy killing.) Then they set their sights on an old lech and his dum-dum sons, hoping to make away with their money. Faster Pussycat indeed! The script is deliberately absurd, with an emphasis on memorable one liners that try to out-cliché all known clichés. But the real attraction here are the "pussycats." It isn't often that you see a 2D movie with 3D effects, but that's exactly what happens when Tura, Haji, Lori, and their six talents hit the screen. These are three big-busted, nip-waisted women with evil attitude, and they sneer, snarl, snap, and slither around the screen with all the aplomb of trailer park drag queens gone bad. It's more "tacky cool" than a 1965 plastic jewelry box explosion. Now, how much you like this sort of thing really depends on how warped your sense of humor is. Cheap though it is, the thing is remarkably well done, and taken in the right way the combination of trailer-park chic, retro-hysteria, and ultra-attitude is a lot of fun... and when the pussycats hit the screen you may think you're about to get a black eye, and I don't mean from their fists! Breakout the popcorn and some protective glasses: Tura and the Pussycats are coming at ya! GFT, Amazon Reviewer

The tendency to dismiss Russ Meyer's "Faster, Pussycat! Kill! Kill!" (1965) as just a cult classic is probably due to the most memorable feature of the film, the girls. First there are the two quintessential Meyer women, Tura Satana and Haji, towering brunettes with enormous breasts who dominate all the men around them; or at least Satana does, Haji's character (with a strange Italian-Mexican accent?) is more focused on Satana than on men. They actually come across as a feminist empowerment fantasy, which is consistent with Meyer's almost exclusive career focus on situations in which women wreak their will upon men. If they are too extreme for your tastes there is blonde free spirit Lori Williams and air-headed sweet young thing Susan Bernard. While arguably the two prettiest women to have ever graced a film, there is no argument that William's character is the sexiest of all time. Interestingly, it was the sweet-faced Bernard who became a Playboy centerfold just a few months after the movie (December 1966). But "Pussycat's" greatness comes from the visceral power of Meyer's unusual images (can you say Fellini). Add to this abundant humor, inventive camera angles, fast pacing, clever editing, violence, and a generally amoral cast of characters. The film gets even better with subsequent viewings, you connect better with the twisted dialogue and the wry humor.