Faster, Pussycat! Kill! Kill! (1965)

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Faster, Pussycat! Kill! Kill! (1965)
Cast: Tura Satana, Haji, Lori Williams, Susan Bernard, Paul Trinka, Stuart Lancaster
Director: Russ Meyer
Nutshell: Bombastic Go-go dancing Babes cut on a murderous crime spree! a riot!

 

Faster, Pussycat! Kill! Kill begins with three delectably bodacious, fast talking go-go dancing chicks of a “dangerous new breed” need to badly let off some steam after a night of heavy gyrating, so off they head for the nearest desert where cat fighting, bitching and hot-rodding in their nifty sports cars is the chosen form of relaxation. The girls unwind to a high speed round or two of “chicken” where you race at each other head on at full throttle.

The three Babe’s, stunningly endowed, make the screen snap, crackle and pop with the sheer electricity of their allure – forget Charlie’s Angels, these girls are the real thing!

Manic, Lesbo-Go-Go girls, sublimely gorgeous, hot-rodding it up in the scorched, barren desert – set to the most amazingly fabulous 60’s trashy go-go tunes – truly rejuvenating and invigorating stuff from the legendary Russ Meyer.

Better known for his fixation with large mammary glands, Meyer clearly has a lot more going for him judging by this supremely groovy evidence. The stark black and white cinematography is stunning and Meyer possesses a keen eye for shot composition. He also displays some terrific editing skills and manages to keep a tight reign on his narrative, moving things along at a torrid pace.

After cascading around the desert racing each other like lust-crazed lunatics (which they are) the voluptuous beauties are joined by a handsome all-American square and his pretty bimbette girlfriend. The vixens, led by the luscious kingpin Varla (Tura Satana) taunt the lad into racing them instead of challenging the clock (“I beat people, not things” scowls the luscious Tura) and he takes the bait at a heavy price. The voice-over that began the movie did after all warn of a new breed of female that was turning to gratuitous violence in response to some strange latent impulses! As if to comply, Varla unleashes a series of brutal karate chops on wonder-boy and ends up snapping his spine in the process. The squealing bimbette witness is kidnapped, to be done away with as soon as convenient.

Fleeing the scene, the three Pussycats discover a run down ranch where a filthy old cripple lives with his demented sons (one is appropriately called Vegetable) and massive stashed fortune. The Pussycat plan is to hide out for a bit then charm the family of perverts, kill and dump the bimbette, ravage the vegetable hunk and steal the loot – though not necessarily in that order. Unfortunately things don’t quite work out as planned because smouldering jealousies and bitter rivalries threaten to cause havoc with the grand master plan – all of a sudden the dynamic threesome aren’t such a happy trio after all and all sorts of horrendous mayhem is sure to ensue!

Faster, Pussycat! Kill! Kill! works on various levels, first and foremost as a slice of the coolest cinematic pop art that ever came out of the swinging 60’s. Russ Meyer has fashioned the most fabulously twisted serving of psychedelic age feminism introducing his killer new breed of women who have at least as much in the brain department as they do in their bras! He has managed to concoct a fabulous looking film with that craggy desert providing the perfect backdrop for the fab pussycats that shape such a stunning foreground. He exploits each and every curve of his buxom stars, making the most of some mind-boggling cleavage and ought to take much of the credit for discovering the delightful talents of Tura and Haji, both ex-strippers.

The excellent script by Jack Moran contains some of the most fabulous quotable one-liners ever delivered on film. Moran’s dialogues are brimming with a succession of sizzlers, most of them from the sultry lips of the incomparable Tura Satana instantaneously elevating the film to the highest cult status. Pussycat also works as a fairly taut if bizarre b-movie horror thriller and finally, and perhaps best of all as a most stunning and joyous, if twisted celebration of uninhibited feminism.

Whichever way you look at it, Russ Meyer’s epic will be long remembered as one of the greatest cult classics of all time and as a marvellous ode to that most fascinating of era’s; the 60’s. A Film deserving of all it’s infamy and adulation, with a soundtrack that just cannot be topped.