Viva

An affectionate send-up of 60's and 70's sexploitation schlock, Viva is the brainchild of star, writer, director, producer, editor Anna Biller. Word has it she also catered the film, drove the actors to set and held the boom while simultaneously acting in front of the camera. I'm only half kidding. But it illustrates a problem with the film which is that with one person assuming so many of the key creative roles there's the risk of a loss of objectivity in the creative process and fewer people to hold the tendency towards self-indulgence in check.

Watching Viva, I couldn't help but feel it would have made a great short. There's about thirty minutes of interesting material here stretched out over a two hour running time. Once you get what the film is going for in its beginning act with the intentionally stilted performances, the mod set design, the garish color palette, Viva holds few surprises the rest of the way. That isn't to say the film is without its pleasures. Biller has the look of those films down pat - the aforementioned set design, the cinematography, the hair and makeup are completely evocative of the type of film-making Russ Meyer, Italian director Pasquale Campanile et al. made their names in back in the day. The performances, though, are uneven. Biller is fine as the titular character but some actors (notably the actor playing the hair dresser) do everything but look straight into the camera and wink directly at the audience. There's an art to acting in this kind of satire (see the Planet Terror portion of Grindhouse.

All in all, an interesting addition to what seems to be an emerging trend of films that attempt to revive long dead genres apparently beginning with 2003's Down With Love and then gaining mainstream popularity with Robert Rodriguez's Sin City in 2005.

I don't remember the 1970s being this bad. As I began to watch this, I thought "why?" Wooden or ham acting, twee soundtrack, garish clothing... and then, realising it's a parody, I began to embrace it. Leaving her mundane life of cooking and making cocktails for her husband, Barbi becomes Viva. In the style of Russ Meyer, her adventures include bad sex, nudism, drugs and a lesbian dalliance but always men are pursuing her. It's not a serious work and I admire Anna Biller's dedication to her art, having written, directed and starred in her oeuvre, plus baring all her charms for the camera, quite nicely too. I particularly liked the line of wigs worn by all and sundry, most looking as of made from polyester and looking through the credits I spotted "extra hair" which might explain how some of the cast were sporting what might have been merkins as these days everyone seems to want to look prepubescent and shaves their genital areas. If you like 70s style racy films, it's for you.

Never before has a modern film so perfectly succeeded in capturing the look, style and feel of the 70's Sexploitation classics. Anna Biller's "Viva" is an explosion of color, humor and schlock done to the nines, besting attempts made by far bigger-budgeted flicks like "Austin Powers" and "Grindhouse" in truly recreating a bygone era. It's a true skin-comedy epic that delivers everything the gorgeous promotional art promises, and will no doubt become a cult classic among those with a true affinity for well-done homage. I watched this with some friends and there were times when we had to actually stop the DVD because we were laughing so hard! The prostitution and nudist camp scenes are simply unbelievable. Highly recommended.

Anna Biller's 'Viva' is two silly hours of campy,good fun. It attempts to satire late 1960's,early 1970's soft core pre-porn films (when they had wall to wall female nudity,but no actual graphic/explicit sexual intercourse depicted on screen). The acting seems to be lifted from early John Waters' films (Pink Flamingo's & even before). The set design,with it's use of pastel colours (as well as primary colours,as well)are a treat for the eye, as they seem to be lifted from period photo shoots of classic late 60's Playboy,as well as record sleeve covers from the late 1950's (especially the Martin Denny covers,with it's beautiful women & it's over saturated use of colour). Anna Biller,in addition to acting as the film's central female lead,Barbi,also wore several hats in the production of this campy period piece (she wrote,directed & edited the film,in addition to set design & even supervising a brief animation sequence,where Barbi is experiencing her first real orgasm, while on some kind of psychedelic drug).The plot concerns a young,suburban housewife who's loutish husband ignores,and eventually abandons her,only to leave her to experimenting with her new found sexual self,including swingers,hippies,etc. I guess if I have any real beef with this film, is the fact that it has several song & dance numbers that do little more than pad the film out to it's two hour (somewhat over long) running time. The song & dance numbers for me,could have been left on the cutting room floor which would have not hurt the film's integrity,one bit). Aside from that,don't go to this film expecting a dead serious Dogme like existential rant on how empty & shallow the human existence is. Just go & have some good clean (dirty)fun. No MPAA rating here,but has scads of both female & male full frontal nudity,sexual situations (both hetrosexual,as well as gay),and other adult material that would have landed this film it's dreaded 'X' rating back in the day,but would pull down little more than a R, these days.

Whomever called this satire a masterpiece of erotic cinema has got to be on some pretty hard drugs. Viva is very much a comedy with the kind of weird, stupid humor that can be hit or miss. Movies like Jim Hosking's An Evening with Beverly Luff Linn (2018) and Anna Biller's other feature film The Love Witch (2016) accomplished this with considerably superior skill, and are two of my favorite comedies.

Unfortunately Viva is to The Love Witch what The Greasy Strangler (2016) is to Beverly Luff Linn. The stupid is piled on so heavily that at times it's just boring or annoying. What saves Viva though are the expert stylistic settings and brilliant colors, along with dry inside jokes that will mainly be appreciated by Italian giallo and/or Hammer studio fans.

Anna Biller is a feminist film maker and I would go as far as to say Viva is also too subtle with feminist themes. As a director she improved considerably on both comic writing and clear messaging while maintaining her trademark neo-70s visual aesthetics with her later 2016 masterpiece.