Megavixens

Up! (1976)

*** (out of 4)

Insane Russ Meyer flick written by Roger Ebert. A dictator (a Hitler spoof) is assassinated but who did it? That's pretty much the storyline for this film because the other 79-minutes are nothing but sex, big boobs, lumberjacks, more sex, lesbians, a fake penis and more wild and kinky sex. Pretty much everything that could possibly happen sex wise is thrown into this thing including three different rapes, which makes me wonder why Ebert went out of his way to try and get certain films banned due to their "treatment of women". The lack of plot really helps matters because in the end this is a very fun film full of laughs but it's mostly the outrageous sex scenes that make it so memorable.

Before finding fame as one half of influential film critic duo Siskel and Ebert, Roger Ebert tried his hand at screenwriting, penning several scripts for cult sexploitation director Russ Meyer: Beyond the Valley of the Dolls in 1970, Beneath the Valley of the Ultra-Vixens in 1979, and between those, wacky sexploitation comedy Up! in 1976.

Up! opens in full-on unhinged mode, with an ageing Hitler (Edward Schaaf) - hiding behind the pseudonym Adolph Schwartz - indulging in a variety of perverted sex acts conducted by well-endowed 'pilgrim' Paul (Robert McLane). Shortly after, Schwartz is murdered while in his bath-tub, the killer putting a piranha in the water. A naked Kitten Natividad, as narrator Greek Chorus, introduces several suspects, including Paul's attractive wife Alice (Janet Wood), buxom black-haired babe Margo (Raven De La Croix), local policeman Homer (Monty Bane), Asian beauty Limehouse (Su Ling), chesty gimp The Headsperson (Candy Samples), and The Ethopian Chef (Elaine Collins). Are any of these characters responsible for the Nazi's fishy demise?

With numerous big-breasted hotties, several scenes of forced sex, lots of consensual soft-core sex, frequent full-frontal female nudity, and some graphic violence towards the end (which includes an axe to the chest and a chainsaw through the stomach), Russ Meyer's movie is quite the eye-opener, a wild ride that forsakes things like narrative cohesion and logic in favour of boobs, bush, and satirical humour. It's a fairly uneven film with a plot that feels like it was written on the fly, but there is enough energy and spirit (and nudity) from all involved to ensure that, if anything, it is never boring.

To rate this Siskel and Ebert style: one and a bit thumbs Up!

Russ Meyer does it again! Up! has something to offend anyone with any sensibilities. I have fond memories of wading through picket lines of feminists in Berkeley to see this in the theater. Meyer's perverse mix of humor, sex, and violence is at its best in this film. Not to be missed by people who....well, we know who we are, don't we?

During the 1970's Russ Meyer established a reputation for producing low budget movies exploiting violence and nudity which were very successful as midnight features in conventional cinemas, or at drive in cinemas. They established a recognisable genre which usually followed a similar template and made a Russ Meyer film very easy to recognise. Now that these films have reappeared on DVD's for home viewing, and are being featured on some TV channels, interest in them may be reviving. Their most characteristic feature is one or more very violent sequences in which characters who have received what should clearly be fatal wounds, pull themselves together and continue to cut themselves to pieces until even the director has been satisfied. Another almost universal feature is a cast that includes several very generously endowed young women who are not adverse to displaying their natural assets unwrapped. Other common features in Russ Meyer films are (1) great photography of a variety of exceptionally scenic locations (to my mind this is often the most attractive feature of his work), (2) a naked siren or spirit who watches over the proceedings, and periodically comments on them in a moralistic way, (3) a corrupt law enforcement officer with a voracious sexual appetite who eventually meets a "just" death, (4) a script which ultimately delivers violent death to all those characters that Meyer regards as completely antisocial (these include all homosexuals, anyone associated with the drug trade, and any Nazi supporters who have survived World War II), and (5) some sort of postscript that summarises the lessons which we are expected to have learned from the film that we have been viewing. "Up" was released in 1976 and is I believe the best, (or the worst - according to ones point of view), of the films of this genre he produced.

Such a film could not be easily imitated today, it dates from a time when the augmentation of mammaries was not usually practiced, so the fairly vigorous movements Russ required from his cast always led to very pronounced "bouncing boobs". Today most of the starlets who compete to participate in movies that feature their bare breasts, have had silicone implants which lead to a very different physical response. Whilst most of Russ's films feature such starlets in the cast, "Up!" may be the first where Russ recognised that these unusually well developed mammaries are often associated with an unusually generous pubic thatch, and also made a great effort to pay his photographic respects to this characteristic. Clearly the primary focus in the selection of the cast for this film was not acting ability, and too much should not be expected in this area. Nevertheless Raven de la Croix has an extremely expressive face which, when compared with some other Russ Meyer films, minimises any deficiencies in this respect.

This film also features all the other characteristics of his work listed above. The naked spirit who provides a periodic commentary is playfully portrayed by Kitten Natividad, who has a role listed as the Greek chorus and whose comments are frequently delightfully pretentious. Gory violence is perpetrated with an axe and a chainsaw, both of which appear to have been chosen by the characters concerned in preference to the firearm that they could also have used. This scene would be completely intolerable to view were it not filmed with such extreme hyperbole that it is reduced to the level of black comedy. "Up!" also features the ultimate in surviving Nazi supporters - Adolph Hitler himself, together with his daughter by Eva Braun, who in some way appear to have escaped from the bunker in Berlin and taken up residence in California. The story, such as it is, starts with the murder of Adolph and follows the search for his assassin. Continued flashbacks make it difficult to follow, but this film is comedy rather than drama, and anyone viewing it today will be watching it for the visual effects (including both the types of spectacular natural scenery so generously featured), rather than the story line.

A good review should help its reader to decide whether they would regard the film as worth watching. With "Up!" this is simple, if you are a fan of Russ Meyer but do not know this film, you should certainly, in my opinion, accept any opportunity to see it because it is a more mature production than many of those which preceded it. If you have not seen any of his films but are anxious to sample one of them in order to assess why they have become cult favourites, I would recommend "Up!" because it is very characteristic of, but less extravagantly presented than, many of his earlier works. If you are one of those to whom Meyer's somewhat incoherent films will not appeal, the information above should be sufficient to save you from investing valuable time watching it.

My personal favorite of Russ Meyer's films. The script, by Roger Ebert (!), is loaded with brilliant sexual dark humor. For example, the opening sequence finds an aging Adolph Hitler lookalike being whipped by a stud in a Pilgrim outfit; meanwhile, "Hitler" is tortured (erotically) by a variety of buxom ethnic babes ("Ah! Limehouse!"). Later, the Pilgrim really gives to Adolph what the rest of the world always wanted to give him - and sticks it to him good! And the ending wraps up a murder mystery by rising to outrageous absurdity. Along the way, our Greek Chorus narrator (Kitten Natividad) keeps us UP to date on the proceedings. Beautifully photographed (Meyer's best acheivement, I think). See what I call "The Indian Flip," and learn something new to do with a light socket. An absolute must for - as someone said - you know who you are...