Faster, Pussycat! Kill! Kill!

Faster, Pussycat! Kill! Kill!, directed by the cult sensationalist filmmaker Russ Meyer, is an edgy piece of black and white sexploitation cinema released in 1965. Primarily known for its use of violence, sex, and humor, it starres Tura Satana, Lori Williams, and Haji, all of whom turn in arresting performances in this widely appreciated counter-culture film from the 60’s.

The film opens with a frantic go-go dance routine by three gorgeous ladies, Varla (Tura Satana), the dominant and raven-haired vixen, Rosie (Haji), a brash brunette with a love for knives, and Billie (Lori Williams), a boisterous blonde who lives life with reckless abandon. They are not your regular demure damsels, they are fierce, feral, and free-spirited, working solo in a desert hideaway bar in the middle of nowhere. The combined prowess paints a vivid tableau of female strength, sensuality, and savagery.

In the vast desolate landscape, the women chance upon Tommy (Ray Barlow), a naive young sports car racer traveling with his girlfriend Linda (Susan Bernard). Their brief encounter leads to unfortunate circumstances that test the motive, will, and strength of each character.

To escape from their crime, they kidnap Linda and flee, leading them to stumble upon a bizarre desert homestead governed by the wheelchair-bound, pervy old man (Stuart Lancaster) and his muscular, simple-minded son known only as the Vegetable (Dennis Busch).

The plot of Faster, Pussycat! Kill! Kill! creates a tantalizing mixture of elements of noir, horror, and thriller genres. Much of the film is characterized by its erotic undertones and offbeat humor, packaged with violent and physical prowess. The characters are brilliantly subversive of traditional gender roles, with the women portrayed as tough, merciless individuals who use their physicality, cunning, and sexuality to exploit men and navigate their way through dangerous situations.

Tura Satana, Haji, and Lori Williams deliver noteworthy performances, morphing themselves into brutal and tough characters. Satana's Varla, with her razor-sharp wit and merciless demeanor, is the archetypical femme fatale. Simultaneously seductive and deadly, Satana's performance is mesmerizing and unforgettable.

On the other hand, Haji's Rosie, possessed by a sadistic pleasure in violence, creates a noticeable balance with her almost stolid exterior. Williams' Billie is a drunken, carefree hedonist who adds a touch of flamboyance to the wild trio. She seems to be the least violent, yet her reckless pursuit of pleasure adds to the overall dangerous unpredictability of the female gang.

Amidst the scorching desert scene, the film vividly showcases the characters' twisted morals through their interaction with their male counterparts. Stuart Lancaster, as the creepy, sleazy old man, sits at the opposite side of the gender paradigm, using his wealth and power to manipulate the women.

Faster, Pussycat! Kill! Kill! is visually striking with its arresting composition and stark extremes of the black and white landscape. The overall structure has experimental elements, contrasting with Meyer's usually over-the-top, three-color popping aesthetics. The film plays out like a wild road movie, punctuated by brutal fight scenes, surreal sequences, and taut moments that keep the viewers on the edge of their seats.

The film's dialogue mirrors its darkly comedic undertones, filled with innuendos and double entendres that satirize conventional morality. It has a keen sense of timing and rhythm, which along with the wild, frenzied performances, creates a genuinely offbeat atmosphere.

In conclusion, Faster, Pussycat! Kill! Kill! is a cornucopia of pop-culture tropes turned on their heads. It wittily demonstrates a power reversal between genders, turning the usual damsel-in-distress narrative upside down, highlighting the tough, fight-ready women taking matters into their own hands. It’s a cult classic showcasing Russ Meyer's cinematic genius, a testament to his rebellious streak that dared to push boundaries and showcase empowering, albeit violent, female characters way ahead of its time. By doing so, it secures a unique place in the cinematic history of 1960s' America.