Three go-go dancers holding a young girl hostage come across a crippled old man living with his two sons in the desert. After learning he's hiding a sum of cash around, the women start scheming on him.
Believe it or not even in Smalltown USA there are still people who are unfulfilled and unrelieved in the midst of plenty. Levonna and Lamar could have the perfect relationship if it were not Lamar's obsession with rear entry.
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Raven De La Croix,
Lorna has been married to Jim for a year, but still hasn't been satisfied sexually. While Jim is working at the salt mine, she is raped by an escaped convict, but falls in lust with him. ... See full summary »
Harry (a corrupt sheriff) and his Chicano deputy hunt an Apache who is about to go to the authorities with the news Harry is smuggling marijuana. Harry makes love to Raquel (a prostitute) ... See full summary »
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Tales of eleven losers are told and interwoven. Burt can't satisfy Angel, so she seeks the arms of another man, who is caught by Angel in the arms of another woman. Angel ends up with ... See full summary »
Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.Written by
Ed Sutton <email@example.com>
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.
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