Faster, Pussycat! Kill! Kill! | |
---|---|
Directed by | Russ Meyer |
Screenplay by | Jack Moran |
Story by | Russ Meyer |
Produced by |
|
Starring |
|
Cinematography | Walter Schenk |
Edited by | Russ Meyer |
Music by | |
Production company | EVE Productions |
Distributed by | RM Films International |
Release date |
|
Running time | 83 minutes [1] |
Country | United States |
Language | English |
Budget | $45,000 [2] |
Box office | $36,122 (1995 US re-release only) [3] |
Faster, Pussycat! Kill! Kill! is a 1965 American exploitation film directed by Russ Meyer and co-written by Meyer and Jack Moran. It follows three go-go dancers who embark on a spree of kidnapping and murder in the California desert.
The film is known for its violence, provocative gender roles, and eminently quotable "dialogue to shame Raymond Chandler". [4] It is also remembered for the performance of star Tura Satana, whose character Richard Corliss called "the most honest, maybe the one honest, portrayal in the Meyer canon". [5] Faster, Pussycat! was a commercial and critical failure upon its initial release, but it has since become widely regarded as an important and influential film. [6] [7] [8]
Three wild, uninhibited go-go dancers—Varla, Rosie, and Billie—dance at a club before racing their sports cars across the California desert. They play a high-speed game of chicken on the salt flats and encounter a young couple, Tommy and Linda, out to run a time trial. After breaking Tommy's neck in a fight, Varla kidnaps and drugs Linda.
In a small desert town, they stop at a gas station where they see a wheelchair-using old man and his muscular, dim-witted son. The gas station attendant tells the women that the old man was disabled in a railway accident, "going nuts" as a result, and that he received a large settlement of money that is hidden somewhere around his decrepit house in the desert. Intrigued, Varla hatches a scheme to rob the old man, and the three women follow him back to the ranch, with their captive in tow.
At the ranch, they encounter the old man, his younger son (who they learn is known as "The Vegetable" due to his feeblemindedness) and his elder son, Kirk. The group all have lunch together, and Billie taunts Rosie when Varla leaves with Kirk, hoping to seduce him into revealing the location of the money. Linda subsequently escapes the drunken Billie and runs away into the desert. The old man and the younger son pursue in their truck. The younger son catches Linda and seems about to assault her, but he collapses in tears as Varla and Kirk arrive. Kirk finally acknowledges his father's lecherous nature and the old man's hold over his younger brother, and he vows to have his younger brother institutionalized. He tries to take the hysterical Linda into town in the truck, but the old man says that he has thrown away the keys, so Kirk and Linda set out across the desert on foot.
Varla drives back to the house and tells Billie and Rosie that they should kill the men and the girl to cover up Linda's kidnapping and the murder of her boyfriend. Billie refuses, but as she walks away, Varla throws a knife into her back just as the old man and his younger son arrive. Rosie and Varla hit the old man with their car, killing him and knocking over his wheelchair to reveal the money hidden inside. Rosie is stabbed to death by the younger son while trying to retrieve the knife from Billie's body. Varla tries to ram him into a wall with her car, injuring him. She drives off in the truck and overtakes Kirk and Linda, chasing them into a gully. Varla and Kirk fight hand-to-hand. She gets the better of him until Linda hits her with the truck, and she dies. Kirk and Linda drive off together in the truck.
Faster, Pussycat! Kill! Kill! was a follow-up to an earlier Meyer film. "'We had just done a film called Motorpsycho, which was about three bad boys, and it had gone through the roof. So I said, 'Well, let's do one with three bad girls'." [9]
The screenplay is credited to Jack Moran from an original story by Russ Meyer. The first draft was titled The Leather Girls and was written over a brief four-day period by Moran, who also collaborated with Meyer on Common Law Cabin and Good Morning and... Goodbye! [10] The screenplay went through a second working title—The Mankillers—and had already begun production when the sound editor, Richard S. Brummer, came up with the now-immortal final title. [4] Although neither Moran nor Meyer overtly cited any prior works as inspiration, the plot has been called a "loose remake of The Desperate Hours , or possibly The Virgin Spring " by one prominent film critic [5] and a "pop-art setting of Aeschylus's Eumenides " by one classical scholar. [11]
Haji had worked with Meyer on Motorpsycho . She recommended Tura Satana to him. [12]
Lori Williams later said, "Russ didn't want to hire me because he didn't think I had a big enough bust! I said I could use pushups in my bra, which I did. He didn't know whether it would work, but then in rehearsals he finally said okay. I kind of did my part like a cartoon, like the rest of the film, bigger than life." [13]
Faster, Pussycat! had a modest budget of about $45,000 and was shot in black and white in order to save money. [14] [15]
The film began shooting at the Pussycat Club, a strip club in Van Nuys, before moving on to the California desert later that night. The film's early racing scene was shot on the dry salt flats of Cuddeback Lake, the gas station scene was filmed in the town of Randsburg, [16] and the scenes at the Old Man's house at Ollie Peche's Musical Wells Ranch outside the town of Mojave. [17] During principal photography, the cast and crew stayed at the Adobe Motel in Johannesburg. [18]
Meyer, who got his start making films while serving in the US Army's 166th Signal Photographic Company during World War II, had a reputation for running strictly regimented film shoots with a small crew composed largely of former Army buddies. [19] Actor Charles Napier, who appeared in five of Meyer's films, said that "Working with Russ Meyer was like being in the first wave landing in Normandy during World War II." [20] Meyer considered the Faster, Pussycat! shoot no different, saying "It was the usual thing with me. It's like being in the military. Everybody has to get up and do their jobs to get things together, and that's it." [21] Meyer's directorial style and the rules he imposed upon cast and crew caused clashes with his equally strong-willed star, Tura Satana. [22]
There was also friction between Susan Bernard and her director and co-stars, much of which they attributed to the presence of her mother on the set (necessitated by Bernard's being a sixteen-year-old at the time). Bernard has said in interviews that she was truly scared of Satana, and some have thought that this contributed to her performance as a frightened kidnapping victim. [23]
According to Satana,
Everybody [on set] did everything from moving props to marking scenery and marking spots where we had to be in the next take. I had to stage the fight scenes because nobody else knew how to do them, and so literally when I did the fight scenes, I really had to pick up each and every one of those guys and carry them through in order for them to look realistic. Basically I had to lay one guy on the floor because he was afraid he was going to get hurt. A lot of it actually had to be done in reverse, so try to imagine doing a fight scene that way. [13]
The film's title song, "Faster Pussycat!", was performed by California band the Bostweeds. The lyrics were written by Rick Jarrard and the music was written and sung by Lynn Ready, who formed the Bostweeds and sang leads. [24] The track was never released commercially, but it did appear in February 1966 as a promotional-only 45 rpm single without a B-side. [25]
Faster, Pussycat! Kill! Kill! premiered in Los Angeles on August 6, 1965. [26] Atypically for a Meyer film, it was a box office failure upon its initial release. [6] [7]
"When it first came out, it was not successful", said Meyer. "At the time, people didn't understand that women could have a relationship with other women." [9]
It was generally dismissed as an exploitative "skin flick" by the few critics who took any note of it at all. [8] John L. Wasserman of the San Francisco Chronicle , for example, reviewed a double bill of Faster, Pussycat! and Mudhoney in April 1966, saying that "Pussycat has the worst script ever written, and Mudhoney is the worst movie ever made." [27] [28]
In the years since, the film has been regarded more favorably, gaining in both commercial and critical stature. [8] On Rotten Tomatoes, the film holds an approval rating of 74% based on 31 reviews, with an average rating of 6.8/10. The website's critics consensus reads, "Faster, Pussycat! Kill! Kill! is undoubtedly shlock, but director Russ Meyer's infectious affection for camp gives this anarchic joyride exhilarating flair." [29] In his review of the film's 1995 re-release, Roger Ebert gave the film three out of four stars. [8] Noted feminist film critic B. Ruby Rich said that when she first saw Faster, Pussycat! in the 1970s she "was absolutely outraged that [she had] been forced to watch this misogynist film that objectified women and that was really just short of soft-core porn." [30] Upon viewing it again in the early 1990s, however, she "just loved it" and wrote a piece in The Village Voice reappraising the film and discussing her change in opinion. [30]
Faster, Pussycat! Kill! Kill! is currently number 674 on the tenth edition of the often-referenced "1,000 Greatest Films" list [31] and 377th on the Sight & Sound "Greatest Films Poll". [32] It is frequently mentioned on lists of the best B movies and cult films of all time. [33] [34] [35] [36]
The film has also been influential on other filmmakers. Writer-director John Waters stated in his book Shock Value that "Faster, Pussycat! Kill! Kill! is, beyond a doubt, the best movie ever made. It is possibly better than any film that will be made in the future." [37] He later said on its re-release that "it ages like fine wine." [6] Music video director Keir McFarlane acknowledged that a scene in the video for the Janet Jackson song "You Want This" was a direct homage to Faster, Pussycat!, showing the Porsche-driving singer and her female companions driving circles around two men in the desert. [6] The music video for "Say You'll Be There" by Spice Girls was also inspired by this film. [38] Filmmaker Quentin Tarantino referenced the film and thanked Meyer in the credits of his film Death Proof , [39] and it was reported in Variety in 2008 that Tarantino was interested in remaking Faster, Pussycat! [40] [41]
In May 2021, it was reported that a television series adaptation of the film is in development from bigbaldhead Productions, the production company run by Norman Reedus, and AMC Studios. [42]
The film's over-the-top title has become iconic and is frequently referenced or played upon in other popular culture:
Russell Albion Meyer was an American film director, producer, screenwriter, cinematographer, and editor. He is known primarily for writing and directing a series of successful sexploitation films that featured campy humor, sly satire and large-breasted women, such as Faster, Pussycat! Kill! Kill!. Meyer often named Beyond the Valley of the Dolls (1970) as his definitive work.
Like a Velvet Glove Cast in Iron is a graphic novel by American cartoonist Daniel Clowes. The book follows a fantastic and paranoid plot, differing in tone from the stark realism of Clowes' later more widely known Ghost World. It contains nightmarish imagery, including dismemberment, deformed people and animals, and sexual fetishism.
Tura Satana was a Japanese American actress, vedette, and exotic dancer. From 13 film and television credits, some of her work includes the exploitation film Faster, Pussycat! Kill! Kill! (1965), and the science fiction horror film The Astro-Zombies (1968).
Haji was a Canadian-born actress of British and Filipino descent, and a former exotic dancer known for her role in Russ Meyer's 1965 cult classic Faster, Pussycat! Kill! Kill! She made significant contributions to her roles by introducing elements of psychedelia and witchcraft as well as writing most of her own dialogue.
Cherry, Harry & Raquel! is a 1969 American action exploitation film produced and directed by American film director Russ Meyer.
Tura Satana was an American rock band formed by rapper and singer Tairrie B after she departed from her contract with the rap label Ruthless Records. Initially formed as a rap rock band under the name Manhole, the band changed their name due to a conflict with a Texas band of the same name, and shifted to a nu metal sound.
Eve Meyer was an American pin-up model, motion picture actress, and film producer. Much of her work was in conjunction with sexploitation filmmaker Russ Meyer, to whom she was married from 1952 to 1969. She was killed in the Tenerife airport disaster in 1977.
Susan Lynn Bernard was an American author, actress, model and businesswoman from Los Angeles, California. She was the daughter of photographer Bruno Bernard.
Erica Gavin is an American film actress best known for playing the title role in Russ Meyer's 1968 film Vixen!.
Mondo Topless is a 1966 pseudo-documentary directed by Russ Meyer, featuring Babette Bardot and Lorna Maitland among others. It was Meyer's first color film following a string of black and white "roughie nudies", including Faster, Pussycat! Kill! Kill! While a straightforward sexploitation film, the film owes some debt to the French New Wave and cinéma vérité traditions, and is known to some under the titles Mondo Girls and Mondo Top.
Lorna is a 1964 independent film starring Lorna Maitland, produced and directed by Russ Meyer. It was written in four days by James Griffith, who played the preacher in the film.
Motorpsycho or Motor Psycho is a 1965 film by Russ Meyer. Produced just before Meyer's better-known Faster, Pussycat! Kill! Kill! (1965), the film explores similar themes of sex and violence but focuses on a male motorcycle gang rather than the female gang of go-go dancers featured in the later film. Motorpsycho also contains one of the first portrayals of a disturbed Vietnam veteran character in film.
The Haunted World of El Superbeasto is a 2009 American adult animated superhero comedy film directed, co-written and co-produced by Rob Zombie. The film was written by Zombie and Tom Papa from Zombie's comic book series of the same name. The film was also produced by Starz Media and Film Roman, with animation provided by Carbunkle Cartoons and Big Star Productions.
Dopádromo (Drug-O-Rama) is the third album by Argentine rock group Babasónicos.
All Is Not Well is the debut studio album by American band Tura Satana. Produced by Ross Robinson, the album was initially released in 1996 when the band was still performing under the name Manhole, which they were later forced to change due to there being a pre-existing band of the same name.
Relief Through Release is the second studio album by the American band Tura Satana and their first since changing their name from Manhole. It was released in Europe on September 29, 1997, and in the United States in April 1998.
The Doll Squad is a 1973 low-budget Z-grade action film by Feature-Faire that was later re-released under the title Seduce and Destroy. Directed, edited, co-written and co-produced by Ted V. Mikels, it features Francine York, Michael Ansara, John Carter, Anthony Eisley, Leigh Christian and Tura Satana. Mikels claimed he filmed it for a total cost of $256,000.
The Incredibly Strange Film Show is a series of documentaries presented by Jonathan Ross focusing on the world of "psychotronic" or B movies.
Once Upon a Time...in Hollywood is a 2019 comedy drama film written and directed by Quentin Tarantino. Produced by Columbia Pictures, Bona Film Group, Heyday Films, and Visiona Romantica and distributed by Sony Pictures, it is a co-production between the United States, United Kingdom, and China. It features a large ensemble cast led by Leonardo DiCaprio, Brad Pitt, and Margot Robbie. Set in 1969 Los Angeles, the film follows a fading actor and his stunt double as they navigate the rapidly changing film industry, with the threat of the Tate murders looming.
The following is a list of unproduced Quentin Tarantino projects in roughly chronological order. During his career, American film director Quentin Tarantino has worked on a number of projects which never progressed beyond the pre-production stage under his direction. Some of these projects were officially cancelled and scrapped or fell in development hell.