Russ Meyer's SUPERVIXENS

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As a humorous sidenote, in the end credits of the film the names of all participants have been changed either partially (Uschi Bristol instead of Digard) or completely (Brown Pants, C. Unt). Shari Eubank is credited as 'Shari Sheridan'. a b c d e f "Russ Meyer, Almost An American Institution" by Kenneth Turan. The Washington Post 9 Nov 1976: B1.

Meyer used names of characters from his previous films, "except the girls are all called “Super” and they play it straight." [8]

The British version of the film cut a moment where Napier stomped on a woman after killing her in a bath. [12] Clint eventually meets up with SuperVixen (also played by Shari Eubank) at Supervixen's Oasis, a roadside diner. SuperVixen is (inexplicably) a friendly and giving reincarnation of SuperAngel, whose ghost now appears nude between scenes to comment on the plot from atop a bedspring balanced on a mesa. Clint and SuperVixen fall in love and are inseparable, although their common nemesis, Harry Sledge, arrives on the scene and plots ending the lives of the now happy couple. Siskel, Gene (May 2, 1975). "'Supervixens' isn't, the porn's forlorn". Chicago Tribune. Section 3, p. 3. Meyer decided to return to the parody sex comedies which had made his reputation so he made what he described as a "sort of sequel" to his 1968 hit Vixen!. [5] Supervixens is a 1975 American film directed by American filmmaker Russ Meyer. [2] The cast features Meyer regulars Charles Napier, Uschi Digard, and Haji. The film also features Shari Eubank (in a dual role) in one of her only two film roles and Christy Hartburg in her only film role.

There were a number of other actors who had appeared in earlier Meyer films like John LaZar, O’Luke, Stu Lancaster, and Uschi Digard. [8] Shooting [ edit ]Meyer said the film "was a little bit autobiographical" but also which "borrowed liberally from a number of people I knew". [8] a b c d e f g h i j Morris, Gary (July 1, 2000). " "Not That I'm Horatio Alger": Russ Meyer on The Supervixens". Bright Lights Film Journal. As a combat photographer in World War II, Russ Meyer made many friends and acquaintances in Europe. Meyer used running jokes and recurring themes in many of his films which were unique to the veteran's sense of humor. In Supervixens, these include the use of German marching tunes and Nazi references. Actor Henry Rowland appears as Martin Bormann, who was Adolf Hitler's personal secretary, rumored to have escaped Allied justice for decades and the subject of many "sightings". The Bormann character refers to SuperAngel as the Führer. Edy Williams, Myer's ex-wife, later sued unsuccessfully for a portion of the film's profits. [16] See also [ edit ]

The two main female characters in the film were Superangel and Supervixen. "Superangel, she's totally bad but beautiful," said Meyer. "Supervixen, she's totally good. They're bookends. I like bookend constructions." [8]Meyer said he planned to shoot the film in R-rated and X-rated versions. He would release the R version, then later release a more explicit X-rated version. However the film would not include hard core sex. "I don't criticise hard core", he said. "I just don't dig it." [5] Scripting [ edit ] The film featured a murder scene which was the most violent yet depicted in a Meyer film. "My films have to please me, to entertain me, and I really dig violence," said Meyer. "I think it's very entertaining. Of course, I like to involve sex with it - sex with gusto - that's my style." [6] Meyer also said later the thought "the film wouldn't have had the success it had" without Napier "in spite of the big boobs and seven girls. Napier, I think, has a quality that few actors possess: Wallace Beery, Borgnine, Alan Hale. There can be just a thin edge separating evil and humor and they work both sides of that line." A Dirty Deal?: Pornography Ruling Causing Confusion and Chaos, Many Traditional Publishers and Filmmakers Say" by EARL C. GOTTSCHALK JR. Wall Street Journal 16 July 1973: 28. Censoring the Cinema: 'Obscene' Is Never Having to Say You're Sorry: Obscenity and the Court" by Tom Shales. The Washington Post 3 Mar 1974: E1.