Tags: Beneath the Valley of the Ultravixens, Beyond the Valley of the Dolls, Black Snake, Cherry Harry & Raquel, Common Law Cabin, Europe In The Raw!, Faster Pussycat Kill Kill, Finders Keepers Lovers Weepers, Mondo Topless, Mudhoney, Russ Meyer, Supervixens, The Immoral Mr Teas, Up!, Vixen
Russ had been famous for travelling the world over to find women with the biggest and best breasts. He was very careful in shooting me and not revealing too much flesh. And, while Anne was not a great actress, she did have a great set of tits! Working with Russ was a great pleasure. He was respectful, hard-working, and had a great sense of humour.
The thing that almost drove me mad was that I wouldn’t let anyone do my makeup, however I gave in and allowed the makeup man to do it. Well, when he was putting on my false lashes he got glue in my eye. As a result, the eye ran the entire day and the eyelash glue wouldn’t stick. When it was time for my closeups, all I could think about was they everyone would be able to see this flapping false eyelash that had come unglued at the edge!
I finally calmed down and explained that they would have to somehow reach the producer (Russ) who I am meeting at the designer’s studio. When they found out I was an actress, they were very accommodating. They did indeed locate the studio through a cross directory and let Russ know that they had arrested me, but it wasn’t serious. It had been a parking ticket that my former boss’s son had received when he had borrowed my car and failed to let me know that he had gotten the ticket. Fortunately, the ticket was only $10, which I paid and then they released me.
You returned to work with Meyer again on 1970 release Beyond the Valley of the Dolls, what was your experience working on this like compared to Finders Keepers?
Some of the people who worked on Beyond the Valley of the Dolls had previously worked with Russ. Of course, Beyond the Valley of the Dolls was with 20th Century Fox and the cast was very large. And orchestrating a large cast of people was very different from the small, intimate sets that he had been used to when he was making a Russ Meyer film. A studio film environment was very different and there were people there looking over his shoulders, publicity people. There were business voyeurs, photographers, extraneous people that wouldn’t have been present on a smaller Russ Meyer set.
I had the fortune to work with Russ on Finders Keepers, Lovers Weepers!, Beyond the Valley of the Dolls, The Seven Minutes and I did the entire voice track for another actress who met the breast requirement, however, her voice was terrible and had to be dubbed. I’ve forgotten the movie title but the character was Junk Yard Sal (the film Roby is referring to is Beneath the Valley of the Ultravixens, the actress is June Mack – Lydia). Russ called me in to dub the film. It was great fun! I was able to do all the sexual things without actually being seen. When Russ screened the film, as we were walking out of the screening, I overheard the actress talking to one of her friends excitedly, “I had no idea I sounded that good.” She never knew that it wasn’t her voice. I was very proud that I had captured her rhythm well enough that she didn’t even know that it wasn’t her voice! In real life she was an S&M professional (sadomasochist professional). She was murdered not long after the movie was made. I’m not sure if the crime was committed by one of her clients or not (it is well-known, but also apparently proven wrong, that Mack was murdered by one of her clients – Lydia).
The last time the Meyer girls got together was at Russ’s memorial service. We all got together afterwards and shared stories. We said that we would continue to get together. Unfortunately, we didn’t.
The only person that I have remained in touch with is Harrison Page (Vixen!, Beyond the Valley of the Dolls). As a matter of fact, Harrison and I are both members of the SGI, a worldwide Buddhist organization. I started practicing Buddhism 40 years ago, and as a new member, I introduced Harrison to the practice.
I found no similarities in Meyers style to Van Peebles. I worked with Van Peebles on Sweetback as a favour. It was my only experience working with him and it was a frustrating experience. I am proud of the role I created, but much of the anger and frustration came out of the moment. There was nothing comfortable about the experience. But perhaps that’s what it was supposed to be. Sweetback was “raw.”
Russ Meyer is a lot like marmite. You either accept him at face value appreciating his filmography for what it is or you loathe him and fail to see any cinematic worth in his work. Dubbed ‘King of the Nudies’ by the Press, Meyer had a prolific career in independent cinema. Using his previous experience as a Pin Up photographer, he stablished himself as one of the best and most successful sexploitation film makers. Creating films on a small budget and exploring sex in any way possible (nudity, suggestive language, scenes of sexual activity), Meyer was a key film maker in helping to bring sex and sexuality to the big screen.
His film career started in 1959 with The Immoral Mr. Teas, a nudist comedy made to rival the other nudie cutie films that were playing in the independent/exploitation circuit. Though not the first film to show female nudity, it was the first feature film to use women purely as sex objects. On a budget of $24,000 the film grossed over $1 million. Meyer knew he’d found a niche in cinema that he excelled in and would in turn be a profitable investment. He made two more films before the nudie cutie genre had run its course and after, went on to produce sexploitation films with a rougher edge.
The roughie period in Meyer’s work is a big contrast to his previous output. Filmed in black and white, the films handle darker material and play out as rape-revenge narratives. Effectively morality tales in which the bad guys eventually get their comeuppance, Meyer scored himself another first with Motorpsycho. Released in 1965, Motorpsycho’s narrative was the first to explore the idea of Vietnam veterans coming back to America suffering from mental illness and stress disorders. It was his last film in this period that would eventually have an influence on the public and feature film makers alike.
Faster Pussycat! Kill! Kill! opened to little response back in 1965 but has since gained a considerable cult following. Meyer’s premise was simple. His last film had featured three guys terrorising women; why not make a film about three women terrorising guys? Meyer cast three striking women in the films leads, notably Tura Satana in the Amazonian role of Varla. They were women out to get what they want, when they want, using everyone and anyone they can. Only ever looking out for number one, the film raised the bar in empowering roles for women on screen. With the subtle hints on lesbianism, the film unapologetically embraces strong, active feminine sexuality showing that women could certainly rival men in all aspects of life.
Meyer’s following films would continue to depict sexually charged women and focus on the failure of the men in their lives to satisfy their needs. Infidelity, bed swapping, outrageous flirtation, lesbianism and even the odd hint of a father lusting after his daughter. Meyer continued to exploit any angle he could in order to show more nudity and sexual behaviour. Exhibiting each new film city by city, state by state, Meyer would regularly have problems with the law. Aware of the amount of nudity and sexual freedom in European/art house cinema coming to western shores, the director put out his most shocking film at that point.
Vixen! was released in 1968 and was an immediate hit with both the public and the law. Whilst people queued around street blocks numerous times to catch the film, Meyer faced prosecution in many states under obscenity charges. Most of its charges were overturned but to this day Vixen! is still banned in Ohio. The film was also another cinematic first for the film maker, becoming the first American made X-rated movie. This film follows the oversexed Vixen as she seduces everyone she meet, infamously ever her brother. Whilst full of taboos, the end of the film shows Vixen bringing down an unruly communist. Only Russ Meyer could make a sex film with a commentary on American apprehension against communism!
Two years later, the director released his first studio film with the backing of 20th Century Fox. Beyond the Valley of the Dolls debuted in 1970 with another X certificate. Originally intended as a sequel to Valley of the Dolls, the film eventually became an intelligent satire on the 1960s as a decade. Parodying cultural references and cinematic techniques, clichés and genres, the film was billed as something ‘never seen before!’ Featuring a cast of buxom women, the film starts as a musical melodrama before turning into a violent exploitation flick. Beyond is well known for its ending which channels the end of the hippy decade with the Tate/LaBianca murders at the hands of the Manson Family.
Beyond the Valley of the Dolls was Meyer’s last cinematic high. His next studio picture, The Seven Minutes, was poorly received critically and commercially. He never made another film with studio backing again. Returning to independent film making, he released Blacksnake in 1972. His first foray into the blaxploitation genre, the film was not a success. Set on a plantation, the narrative follows a slave owner who manipulates both the black and white men on her estate. The film has some violent scenes and the lead actress, Anouska Hempel, is not suited in the role. Without the satire or humour present in Meyer’s previous work, Blacksnake is a jarring and uncomfortable watch.
Returning to what he knew best, Meyer made two sexploitation films in the mid 1970s, Supervixens and Up! By now the public were used to seeing more extreme sexual imagery in cinema. Last Tango in Paris and Deep Throat were released in 1972, raising the bar of screened sex in film and challenging pornography and obscenity laws. Meyer, despite being a sex film maker, was repulsed at anything hardcore and refused to incorporate this aspect into his own work. Whereas once he was ‘King of the Nudies’, the sex film industry’s evolution left Meyer out in the cold. It would be the downfall of his career.
In the late seventies, Meyer was approached by Malcolm McLaren to make a film about and starring the Sex Pistols. Work was started on the picture, called Who Killed Bambi?, but was abandoned when it was apparent there was no funding. He made and released one more sexploitation film in 1979, Beneath the Valley of the Ultra-Vixens. A parody of his previous work and still containing nudity and simulated sex, it was still a lot less than the images found in harder films.
Russ Meyer made one last film a few years before his death entitled Pandora Peaks, though it is sometimes considered out of canon with his other work. He enjoyed numerous screenings of his work in various festivals and universities across the globe, including a big retrospective at the British Film Institute in 1983. In his later life his major project became his autobiography, A Clean Breast, which was released in 2000 in three hardcover volumes totalling over 1200 pages. He was diagnosed with Alzheimer’s disease the same year and died four years later, aged 82, from pneumonia.