Supervixens 4K 1975 Ultra HD 2160p

Story Movie

Young American Cliff, a hard worker at a gas station, quits his job and flees town to escape punishment for a crime he didn't commit. The real killer of his insatiable wife Super Angelica is the deranged Sheriff Eric, a misogynist and impotent man. Cliff flees from the law, but is pursued and overtaken by a lushly-breasted nymphomaniac, the scattered ghost of his brutally murdered wife.

Review 4K Movie

There is nothing beyond the Valley of the Dolls. The gray sand swirls over the few silhouettes that are visible to every wanderer, but not everyone dares to approach them at arm's length. Silence spreads its boundless embrace over all, while erasing the fragments of memory that many people have lost. Amazing canvases, adjacent to tumbleweeds and rusty androids that watch colored dreams, secretly dreaming of electroovans. If you get close to the closest one, you can hear the quiet whispering of a creature recalling a certain Cliff, Haji, and outlandish events that took place in the West of a now-defunct state. Shall we listen to his tale?

The protagonist Clif is a loser who has been shown the backside of reality by a charming SuperAngel who increasingly displays the temperament of a crazed cobra, tired of the heat, a cheap apartment and a guy with the intelligence of a husky. It is the precipitous and violent death of his “beloved” that forces him to leave the tiny town lost in the womb of Mother America, even though he is innocent. Is he destined to survive the mundane narrative, with whose help the hapless man will become a fit story changer who shocks the imagination of gawkers? Or will it be a superficial tripe with Duke and Gonzo finally fucking up their red shark? For those passing by, only one weighty fact should matter. There are going to be a lot of girls with huge breasts in this story.

The beautiful girls that poke fun at Cliff's no-goodness, gifting him with all sorts of adventures are the main attraction of Russ Meyer's movie. The brilliant toys, proudly on display for the viewer, smile at anyone who wants to see their awkward, sometimes funny, but certainly exciting play. Ears Digard, Haji, Sharon Kelly. Mannequins that go from movie to movie, distracting everyone and everything from the stories of old Russ, although no one is against such gimmicks. You can praise as much as you like the masterful editing or the plot equilibrium, which can keep a perfect balance, even when the comedy transforms into a thriller or detective in a few moments, but it is the supermeggers who play the role of the first violin in this grotesque orchestra. Former dancers and strippers, who are destined for oblivion or filming in second-rate porn, managed to cause not only the expected desire, but also a smile from the immediacy that happens only at charismatic actresses-butterflies flying to the bright flame of their fleeting immortality.

Pornographic image of a woman with a slight touch of naivety or excessive bitchiness haunted Meyer throughout his life. A peculiar filmmaker who managed to get into the golden fund of documentaries, as well as to influence the development of sexploitation and, in general, to occupy his own small niche in the chronicle of cinematography. Independent of the monstrous Hollywood studios and auteur theory, the mad American always bent his own arc of development of the language of the tenth muse, thus bringing something new; the chaotic existence of a small town, the death of a farm dilapidated during the Great Depression or the reverse side of human desires carefully wrapped on top of another plot platitude - his faithful tools. And he knew how to use them to his advantage.

Jumping from thriller to road-movie with elements of eroticism, “Supermegers” eventually wraps itself in a cocoon of outlandish parable, which ends not with a bang, but with a bang. The parody of society is leveled, devoured by its own chimerical tail, when SuperAngel and SuperMegera, played by the sexy Shari Eubank, become one, whole person. The final battle merely draws a bold line under the most balanced, in its own way perfect movie within the now defunct genre. The balance of all the components that originated in the same “Lorna”, but managed to progress only 11 years later, is even more striking than the same “Faster, Pussycat! Kill, kill, kill!”. Destroying the images so close to him, the director deliberately performs the brightest, desert-smelling funk, which he will not be able to repeat not in “Get Up!”, and even more so in his swan-like “Ultramegers”. For the finale of this rambling but, I hope, sincere review, the words of Russ Meyer himself, which he uttered in the epilogue of his last movie to Richard Wagner's “Flight of the Valkyries”... are appropriate.