Beyond the Valley of the Dolls

Beyond the Valley of the Dolls, released in 1970, is a delightful, exceedingly peculiar, and outright campy film that has over the years cultivated a dedicated cult following. Crafted in the expert hands of Russ Meyer, noted for his niche-exploitative and low-budget films, and penned by the renowned film critic turned Amateur screenwriter, Roger Ebert, the movie has cultivated an iconic status in the realm of cult cinema. A delightful cast starring Dolly Read, Cynthia Myers, Marcia McBroom, among others, adds to the character and gives this film its distinct charm.

In an interesting twist of fate, the movie shares its prefix with the 1967 film 'Valley of The Dolls,' although it serves neither as a sequel nor shares any plot connection with the latter. This made the movie a curious enigma when observed from a distance but, indeed, has contributed to its allure. It uses the shared prefix more metaphorically than literally, seeking to draw audiences into a world that exceeds the reality and morality presented in the original 'Valley of the Dolls'.

The protagonists are three young, ambitious women who seek to make their mark in the glamorous rock ‘n roll scene in late '60s Los Angeles. Kelly McNamara (Dolly Read), Casey Anderson (Cynthia Myers), and Petronella "Pet" Danforth (Marcia McBroom), civilly known as the rock trio - 'The Kelly Affair,' are brought to life with panache and dexterity by the lead actresses. The film artfully explores their journey, morphing from innocent mid-Westerners to becoming the toast of the psychedelic rock scene, wrapped in the snug blanket of fame, excess, and hedonism.

Dolly Read's Kelly ascends as the leader of the group and the central character, especially as the trio's music evolves and to aligns better with the LA glam-rock landscape, and is subsequently christened 'The Carrie Nations.' As the newfound glory of Kelly and her band burgeons, the movie carves out intricate sub-plots pivoting on lies, deception, love, jealousy, and the daunting shadows of fame and fortune. The fervor of their rock’n’ roll lifestyle places them at the crossroads of the bliss and the abyss of the L.A scene. The women must navigate the wilderness of unsolicited attention, influence, and a flamboyantly eccentric, yet highly manipulative, new manager Ronnie "Z-Man" Barzell, bewitchingly brought to life by John Lazar.

This brings into the forefront one of the most fascinating aspects of the film: its vibrant and multihued cast of secondary characters. From Michael Blodgett's gigolo Lance Rocke, David Gurian's love-smitten Harris Allsworth, to Edy Williams' vivacious Ashley St. Ives, each character brings a shower of eccentricities, contributing to the flamboyant style of storytelling Meyer is known for gym.

The film is a candid examination of an array of themes like ambition, deceit, jealousy, love, and the seductive yet treacherous quicksand of fame and fortune. Deeply rooted in the era's cultural aesthetic, it uses the bright colours and energetic music of the late '60s and early '70s to further enhance its vibe. The film is equal parts satirical and tragic, as it parodies then-popular tropes before ultimately submitting to the exact melodrama it sought to mock.

The bold, provocative filmmaking, with gaudy fashion, glamorous settings, cluttered editing, sensual scenes, and downright hilarious dialogue, contribute to a truly Meyers-style camp-fest. The distinctive backdrop of psychedelic rock music of the era is skillfully woven through the narrative, providing not just a soundtrack but a pulse to the entire storyline.

Beyond the Valley of the Dolls is an audacious venture that successfully delivers a cocktail of maturity and absurdity, drama and satire, and substance and style. The film is a spectacle that transcends conventional, plot-driven storytelling, occupying a treasured space of its own. For those on the lookout for an unconventional, over-the-top, and sensational journey down the rabbit hole of campy melodramatic filmmaking, Beyond the Valley of the Dolls stands tall as an unforgettable, must-watch statement.