Up!

Up! is a 1976 exploitation film directed by Russ Meyer who was known for making feature-length sexploitation films, usually featuring voluptuous women. The movie stars Raven De La Croix, Robert McLane, and Janet Wood amongst a vibrant and eclectic cast.

Up! takes place in the seemingly idyllic rural town of Misty, California where a wide variety of extremely colorful characters live under the heavy mist of intrigue and mystery. The story begins with the brutal murder of Adolf Schwartz who is a somewhat perverse parody of Adolf Hitler. The murder weapon being a peculiar choice, a lethal spike driven through his body from his bathtub where he was enjoying an erotic moment.

In its own humor-filled way, Up! then turns into a captivating murder mystery, exploring these oddball characters as potential suspects leading to some quirky plot twists and turns that keep the audience guessing. The viewers are guided through the investigation process by a Greek Chorus-style narration that takes the form of a busty and beautiful woman, Kitten Natividad, who occasionally interrupts the flow of scenes to comment on the story and events.

Raven De La Croix, who earned celebrity status with her role in this film as Margo Winchester, is a sultry, voluptuous woman who comes into town as a newcomer. She quickly finds herself in the middle of the town's peculiar dynamics and has her own unique tales to tell. Robert McLane who plays the town's law enforcement officer, Homer Johnson, is interested in investigating the murder but is also deeply enchanted by Margo. Janet Wood, who embodies the character of Pocahontas, adds an additional quirky character layer to the narrative with her interesting escapades.

The representation of women is particularly noteworthy in this film. The females are clearly in control with a raw sense of feminine power and sexuality. They defy the norms and stand toe-to-toe with their male counterparts. This is particularly clear with Margo who soon becomes the focus of attention in the town; both adored and feared by the less forgiving individuals in Misty's social 'patriarchal' hierarchy.

However, it’s important to establish that Up! falls under the umbrella of sexploitation films. Designed to appeal to the primal instincts, it is laden with over-the-top, sexually charged scenes. Swerving between risqué adult comedy, tongue-in-cheek pastiche, and unconventional mystery, the film is a testament to Meyer's versatile direction. It also plays with a strain of dark humor, often intertwining sex and death to forge a direct link to the cult genre of the 'video nasty'.

The sexuality in the film doesn’t only serve to stimulate; it plays a part in moving the narrative forward. Every character is eccentrically unique, and this eccentricity is often expressed through their sexual behaviour. This makes the characters memorable and gives depth to even seemingly secondary characters.

Up! celebrates the absurd but despite the humor and bizarre world Meyer built, it presented a stark criticism of egoocracy, hypocrisy and the illusionary social order. It is a rambunctious piece of satire with overtones which unapologetically objectify both men and women and never hold back punches when it comes to presenting the blunt images of sexuality.

The film has a fast pace which is suitable for keeping the viewer engaged throughout its run-time, and unique and creative camera angles maintain a visually attractive spectacle. The dialogue is sharp and often witty, with metaphoric references and humorous puns.

The visual aesthetics of the movie are rather distinctive with its grainy, vintage look pertinent to the films of the 70s. Whether it be the lush countryside or Margo's vibrant wardrobe, every frame seems to be a vibrant splash of color, creating an ambiance that has a sense of timelessness to it.

In conclusion, Up! is a bold, sensual journey that encapsulates the essence of exploitation films of the 1970s. It is a unique blend of comedy, erotica and a 'whodunit' murder mystery. While it might not cater to all tastes, those with an appreciation for Russ Meyer’s signature style or enthusiasts of vintage exploitation cinema would find it to be an entertaining endeavor. The movie works like an unorthodox time capsule from an era that dared to push cinematic boundaries, with its in-your-face sexuality and could easily induce a dose of nostalgia.