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 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'. 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 ] a b c Russ Meyer: Ten Years After the 'Beyond' Ebert, Roger. Film Comment; New York Vol. 16, Iss. 4, (Jul/Aug 1980): 43-48,80. Siskel, Gene (May 2, 1975). "'Supervixens' isn't, the porn's forlorn". Chicago Tribune. Section 3, p. 3. Meyer said the film "was a little bit autobiographical" but also which "borrowed liberally from a number of people I knew". [8]

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Those years were very confusing to me," said Meyer. "But instead of rushing off and throwing myself out the window, I was able to psychoanalyze myself and discern what was best for me. I looked myself square in the face and realized I couldn't do everything." [5] acceptable to the mainstream," he said. "People want to be amused, entertained and that's what I'm giving 'em." [6] Meyer flew to the Mauna Kea Hotel in Hawaii in September 1973 and wrote the script. It was the first screenplay he wrote entirely by himself and he did the first draft in eight days. Meyer says he rewrote it nine times, with input of the actors. "I think actors contribute to the comfort of words because it's one thing to sit in a little green room somewhere and write dialogue, but when you hear actors speaking it, it doesn't necessarily flow as well as it might," said Meyer. [8] 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.

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] 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 ] 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. 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.

He said he was also influenced by the stories of Horatio Alger. "They were always about a young man who was totally good, and he would always set out to gain his fortune and he would always come up against terrible people," said Meyer. "They did everything they could to do him in, but he fought fair, you know, and he always survived and succeeded in the end. So, that's just one facet of the thing." [8]

The British version of the film cut a moment where Napier stomped on a woman after killing her in a bath. [12]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. Meyer called it "a very good film" although "people kept asking, "Why did you have to have that bathtub murder," when really the success of the film was the bathtub scene, since there was so little sex in the picture. After a tour of Ivy League colleges and after showing it in Europe, it was clear to me that in the two weeks before its national release I had to interject some more sex. And I did, fortunately. Otherwise I don't think it would have performed as well as it did. But it wouldn't have worked as an R. The audience smells that. You lift a whole sequence out and they won't come." [3] a b c d e f "Russ Meyer, Almost An American Institution" by Kenneth Turan. The Washington Post 9 Nov 1976: B1. Fleeing from the farm, Clint meets a motel owner and his deaf daughter, SuperEula ( Deborah McGuire), who convinces him to take a ride with her in her dune buggy to have sex in the desert. They are caught by her father and chased out of town.

Edy Williams, Myer's ex-wife, later sued unsuccessfully for a portion of the film's profits. [16] See also [ edit ]

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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 used names of characters from his previous films, "except the girls are all called “Super” and they play it straight." [8] Vincent Canby of The New York Times wrote that the film "looks sort of ritualistic, sort of perfunctory, made up of actions whose original meaning and purpose have been forgotten ... 'Supervixens' is a curio for film buffs." [13] Gene Siskel of the Chicago Tribune gave the film one star out of four and wrote that "Meyer has lost the sense of humor that occasionally made his films enjoyable. The humor has been replaced with repulsive amounts of violence." [14] Kevin Thomas of the Los Angeles Times said Meyer explored "as never before to such an extent the dark underside of his erotic myths. It's 'Supervixens,' not ' The Day of the Locust,' that's genuinely apocalyptic." [15] Cultural references [ edit ] 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."