I had the guilty pleasure of seeing my first Russ Meyer film at the Ann Arbor film festival in the late 70s.  The film was Vixen and it was the most bizarre mix of politics and sex that I've ever seen in a film.  Since then I've come across a couple of other of his films.  Beyond the Valley of the Dolls about an all chick band in LA and most recently SuperVixens which I am about to review.

Russ Meyer doesn't hold a grandiose title in the history of film making but he does apply a certain art to his films that makes them rise above your average soft-core porn film (which I don't think is what they are about at all – well maybe they are but that's besides the point).   Other directors have cited him as an influence, John Waters and John Carpenter for example.  Also, people whose taste in film I respect are usually fond of Russ' films. So that's gotta count for something.

Unfortunately, Supervixens IMHO was not Russ' best film.  It had it's moments but too often Russ was trying to be titanically titillating and failed to concentrate enough on the film.   It no wonder with all those massive mammaried women running around that he didn't keep abreast of the story, but  that's no excuse.

One of my other disappointments with this movie was that it seemed overly misogynistic.    It had one of the most brutal murders I think I've ever seen in a film.   Granted the character Angel was a  bitch from hell but the cop who couldn't get it up really tears into her.   He does it more than once in the film too.  It was worse than the attack in I Spit on your Grave (I know that isn't saying much, but it was).

After the murder, the film kind of drifts with Angel's boyfriend  while he tries to escape being accused of her murder.  It also gets  repetittitive  with him trying to avoid having sex with every super endowed woman on the way.  

Then the boyfriend finally meets Supervixen at a petrol station in the desert.  And then things get weird.  Supervixen looks a somewhat like Angel.  And Angel, bigger than life, titers naked on a nearby mountain top.  

The boyfriend stays and helps Supervixen with the station and he and Supervixen fall in love – much to the pleasure of Angel who orgasms humping the mountaintop in what could only be described as a tribute to Fellini.

Then the impotent cop shows up at the station and things promise to get interesting.  Angel seems excited that he's there, she's humping every rock in sight.   Supervixen finally connects herself with Angel through the use of a shared piece of dialogue. Then once the cop's plan is put into action things get even more  surreal with Angel jumping up in down in her bouncy nakedness, on a bed, at the top of the mountain.  

Then the bed has no mattress and the movie turns into the Perils of Pauline, the cop as the dastardly villain.  He has Supervixen chained to a rocky ledge and is going to blow her in two with a  strategically placed stick of dynamite.  Our hero, the boyfriend, has been shot, bet-up and is no longer responsive. The fuse is burning down.  Will Pauline, I mean, Supervixen escape?

You get the idea.  One of the best things about the movie is the acting. The bountifully breasted cast  actually did a great job.  You would usually expect that the acting would suck in a film that explored sucking as a subject matter – but it didn't.  

I don't really recommend this movie unless you are really curious about Russ Meyer's films.  And if you are that curious that you just have to see one, then I would recommend losing your virginity to Vixen.   Then you can see these other films and still respect Russ in the morning.