Ultra Vixens

Russ Meyer's films may be silly and irreverent, but they're also great fun, and while Beneath the Valley of the Ultravixens is not his best work, it's still great fun to watch and certainly comes recommended to Meyer's fans! In my opinion, Meyer is at his best when he's mixing comedy porn with a thriller plot structure - with Faster Pussycat! Kill! Kill! and Supervixens being the best examples of his work. Beneath the Valley of the Ultravixens is basically your average porn movie with a focus on a load of set-piece situations, but Meyer keeps the laughs coming and there's no shortage of big breasted ladies to keep the audience interested. There isn't really much plot to speak of, but the film centres on Levonna & Lamar; a couple in "Smalltown, USA". They're having problems in (you guessed it) the bedroom, as Levonna wants to have sex normally, but Lamar only likes to go in through the backdoor. Levonna becomes frustrated, so she does what any woman would do - gets herself a wig, learns Spanish and pretends to be a Mexican dancer to try and change Lamar's sex preferences...

The plot isn't really relied upon and the film is more of an excuse for Meyer to present a load of silly scenes; but that isn't a problem. The situations that various characters find themselves in generally are funny - with the scenes that sees Levonna get her wig and Spanish phrase book, and a sequence taking place in a dentist's surgery being the highlights of the film. There's plenty of nudity as you might expect, and all the girls have overly inflated chests in the true Russ Meyer style. The sex is not exactly hardcore, but there's plenty of it and it's not disappointing. The style of the film seems to be a parody of the American "apple pie" theme and the story is told by a narrator, who seems to be taking on the role of the "all American workman", the twist being that he's always talking about perversion. I don't think Russ Meyer was really trying to say anything with this film - there's a slight hint of a point stemming from the idea of "Smalltown, USA is a normal small town, but look what goes on behind closed doors!", but it's not implemented well enough to have much meaning. Overall, this is a very decent little porn flick from Russ Meyer, and while I'd recommend other films of his over this one; Beneath the Valley of the Ultravixens is worth a watch.

Beneath the Valley is one of Meyer's better known works, largely due to its broader distribution, over-indulgence of feminine beauty and crass humor. These are all time-honored features of Meyer in his films, but as his last feature (Pandora Peaks typically isn't counted in terms of conventional Meyer timeline), everything gets laid on extra thick. Meyer tests the boundaries of just how far he can go before the viewer reaches sensory overload. Nonetheless the impeccable Kitten Natividad and the often unmentioned, but still unforgettable Ann Marie stay true to Meyer fashion and manage to suck in the viewer while Meyer dishes out social taboos and common problems associated with the modern couple. Nobody is safe from his scathing satire. The homosexual professional, the self-defeating redneck and the two-faced nature of radio/TV evangelism all get a thorough walloping in this film. This film also serves as the epitome of Meyer's work with photography and cinematography. His virtually-patented "up through the bed springs" shots are unmistakable and this film serves as the perfect showcase and record of this unique, yet effective technique. Never before has any director opted to shoot the love scene from the mattresses point of view! Although this film does indeed lack in comparison to Supervixens or Up! as one of Meyer's late '70s style flicks in terms of dramatic story complexity, it's still Russ Meyer, and that alone makes the film worthwhile.

There are some films that are entertaining, thought-provoking and well-made. There are some that try to attain these qualities but fail. And then there are films like this. Technically, this film should be awful. The acting is poor, the storyline totally throwaway and there is more gratuitous nudity than... well, anything else in this movie. It's about as politically incorrect as you can get. But on the other hand, it's unpretentious. It's as if Russ Meyer said, "Okay, let's get this straight. This is a sex comedy, now let's get down to the sex and comedy."

Once you've got over the fact that this is a Dumb Movie And Proud Of It, this is a funny film. There are some sophisticated bits of satire- the very matter-of-fact narrator who links what is basically a series of sex scenes is reminiscent of those very moral public information films. There are also some jokes that are just plain stupid (the gay marriage counsellor is funny, if stereotypical).

Of course, what Russ Meyer films are most famous for is naked busty women. Although I must admit that although the aim of the movie is clearly tittilation, after a while the nudity frankly becomes boring. We basically know that every woman who appears will get 'em out, whether for a sex scene, to sunbathe or, what the hey, just because she's a woman with large breasts. There's only so much you can take before it gets tedious.

Otherwise, the movie is pretty much what you'd expect from a Russ Meyer movie of this era. Lots of desert locations, the same actors and actresses that appear in all of them, some truly perverse sex scenes (necrophilia, incest, paedophilia and the list goes on) and a sex scene involving someone babbling on in a foreign language.

Broadly speaking, you'll like this if you like Russ Meyer films. If not, you'll be bewildered and confused.

With his final big-screen movie, the Sergei Eisenstein of skin- flicks, Russ Meyer, festoons Beyond the Valley of The Ultra-Vixens with his usual cynical and scornful look at small-town Americana. With the birth of video-tape and audiences preferences leaning in favour of penetrative, hard-core porn, Meyer bowed out with dignity, refusing to bow down to audience demand and lower himself to such a cheap and easy form of entertainment (although he would briefly return over twenty years later with Pandora Peaks (2001)). All the Meyer traits are here - blockhead male chauvinists, sex-mad townsfolk, a grizzled narrator, women blessed in the mammary gland area - and are loosely stringed together in what makes up the 'story'.

Set in the small town of, er, Small Town, USA, our narrator, The Man From Small Town USA (Stuart Lancaster), shows us all it's wacky inhabitants. There's a well-endowed evangelical radio preacher (Ann Marie) who has sex inside of a coffin, a man-eating junk-yard owner (June Mack), and a randy dentist/marriage counsellor (Robert E. Pearson). In the centre of it all is the beautiful, big-breasted Lavonia (Kitten Natividad) and her lug-head husband Lamar (Ken Kerr). They are happy enough, only Lavonia's unquenchable thirst for sex and Lamar's preference to 'entering through the back door' means that they must find themselves before they can finally 'come together'.

Co-written with Roger Ebert, Beyond the Valley of the Ultra-Vixens is less a story and more a collection of comic, fruity vignettes. Some of sharp, energetic and funny, others can be plodding. The satire is less sharp here than in his better movies, for instance Beyond the Valley of the Dolls (1970) or Up! (1976), but his admiration of the female form is possibly clearer here than any of his other movies. He's often called anti-feminist, but, with Meyer, it's the women who hold all the power, outwitting and overpowering the numb-nut males, even raping one, a 14-year old boy I may add, in one scene. He certainly doesn't seem to mind though. It's often delightful and even titillating, but ultimately lacks the sharpness and daring of Meyer's best work.

www.the-wrath-of-blog.blogspot.com

At this point 'Beneath..' appears to be Russ Meyer's last movie, which is a pity. A pity because we could do with his invention and energy and ideas to liven up our dull movie going lives, and also a pity because it isn't one of his best efforts.

Meyer's two movies prior to this one - 'Supervixens' and 'Up!' - are two of his best ever, and don't receive the attention they deserve. 'Beneath..' follows a similar format to those two classics but does so with more coarseness and less fun. Meyer takes advantage of the more liberal censorship laws of the late 70s and makes his most explicit movie yet, but loses much of his sense of smutty joyfulness.

The one thing that saves this movie is the exuberant performance from the dynamic Kitten Natividad. If you are a fan of Kitten and her sensational body then this is the movie for you! Otherwise I could name at least a half a dozen Meyer movies to watch before this one. A disappointment this, but still has enough glimpses of Meyer's genius to make it worth a look.