Bury Me an Angel

You can complain all you want about low budget production values, but BURY ME AN ANGEL is a lot better than most biker pictures of the age, telling a "revenge-on-the-go" story that satisfies. Best of all, it defines both revenge and attitude at the same time! This is as solid as it gets with writing a feminist statement into an exploitation movie that doesn't require a single damsel going under a lot of painful distress. Many drive-in movies have copied off this tiring idea numerous times before (like the women-in-prison idea), so this movie was obviously going into a new direction. The key word is revenge, and it defines exactly what this movie is about, not withstanding the pressure of most filmmakers who still haven't learned how to make good exploitation.

This damsel, by the way, falls under the name of Dixie Peabody, certainly knowing how to show who's boss throughout the whole film. Her style of character stands out extremely high and sticks with it. You can tell that she has that mean, emotionless personality inside, and never gives up trying. And you know what she's going after. Revenge, and nothing short of sweet! It's not bad to have two accompanying buddies to join her for the ride. It would almost be certain that it rips off EASY RIDER, but thank goodness this one isn't exactly an action film carrying the "femme fatale" label. Who needs it, anyhow?

Bottom line: this IS serious biker hash that doesn't need to go over the border with lousy creativity demonstrated in SATAN'S SADISTS. You wouldn't want to miss Dan "Grizzly Addams" Haggerty in a movie like this, a guy reasonable in a dark-haired beard that Nu-Hart later hired. As obscure as BURY ME AN ANGEL has become, so does the actress Dixie Peabody who should have been best remembered for her solid performance on both motorcycle and turf. Where is she today? An overlooked (and perhaps lost) drive-in experience could someday rediscover itself again, if you took my word on this page.

Only interesting from a historical standpoint as it is written and directed by a women and has a strong woman as the central character.

There is more padding in this movie than in box of cotton.

There are long sweeping shots of three people riding motorcycles through beautiful vistas... over and over again. I was able to fast forward through 40% of this movie without missing any dialogue. In fact, we were making fun of it. It was like the actors drove about 2 miles, stopped, changed their clothing and drove another 2 miles, etc to make it look like the movie took place over a longer period of time.

The chick is pretty and she does a passable job, but there's just not that much there. Almost no action. Even the ending is vague and silly.

I LOVE bad movies. I love biker flicks and flicks from the 70s. I can usually find something positive about any movie... But this one... Ooooffff.... Just avoid it if you can.

Keep Moving... Nothing to see here.

Despite its much-discussed feminist slant, this film is a slow-moving, amateurishly-made bore whose trailer is all you need to see of it. Nearly everything worth watching in the full-length movie is found in the trailer, and its punctuated by some of the most hilariously overripe narration in history. BURY ME AN ANGEL sucks out loud, but I give it a 3 out of 10 solely for its idiotic and horrendously-staged bar fight that's less exciting that watching two eight-week-old kittens slapping each other around with their paws. That fight may be pitiful, but it inspires a certain awe when one considers the balls it took to put something so pathetic onto the screen and actually expect people to shell out good money to see it. And let us not forget the incredible turn by star Dixie Peabody; her loony expressions and acting when she gets crazy while reminiscing about her murdered brother are amazing in a way that calls to mind a fusion of Edy Williams and Susan George at their most over-the-top.

It is interesting to note that the three main actors in this movie - Dixie Peabody, Terry Mace and Clyde Ventura - all seemed to have vanished from sight proximal to starring in this film, with each of them only making a handful of movies combined in a short time frame. While they weren't the best actors ever to grace the screen, they did approach their roles with a certain verve and raw energy that helped offset some of the occasionally overall amateurish production values. The recent success of " Easy Rider " had a profound influence on much of the visual context of this film, as the three bikers similarly wend their way through western landscapes backed by a rock soundtrack. However, the attempt to capture and recreate the magic of that classic film falls short in comparison, lacking both the brilliant cinematography of Laszlo Kovacs, as well as the backing score provided by some of the best contemporary music created in that era. Instead, we get a fairly mediocre and generic sonic collection that could have been supplied by any halfway decent bar band, while the cinematography here remains relatively strong, with its vivid color and solid compositional components as envisioned by Sven Walnum. The movie as directed by Barbara Peeters is a valiant effort to enter the male dominated biker genre by positing a powerful female lead, bent on vindication, and unintimidated by the traditionally masculine world of biker gangs, even if the overall directorial effort can be considered dilletantish at best. Dixie Peabody is a first rate choice for her role, considering her imposing stature and modelesque beauty. Why she faded from view is anybody's guess, considering her potential as a strong female protagonist that seemed poised for some amount of fame, even if only limited to modest success as a character actress. " Bury Me An Angel " probably deserves to be unearthed for a viewing, notwithstanding its shortcomings.

Dixie Peabody stars as "Dag" in this hypnotic biker film. Dag and her two male biker friends search for the murderer of Dag's brother, who was shot during a party. The film marches the trio into constant trouble,and a friendly encounter with Dan"Grizzly Adams"Haggerty as a young hippie. The music in the film reflects the times of free love and peacenik joy, but the background score in the flashback scenes invoke a witchy pride to the story that itself is dreamy and illusionary.