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I have to say that, as the submitter of this entry, I'm not a huge Russ Meyers fan overall. He made a ton of movies, and even though they share many characteristics with this one, I find most of them boring and almost unwatchable. The notable exceptions are this movie and "Faster Pussycat! Kill! Kill!" (Faster Pussycat isn't available on DVD, but Turner Classic Movies will be showing it on September 4th at 12:30am PT. Set your Tivos)
As a follow-up to the contest, it might be interesting to discuss what separates "bad" movies from "so-bad-they're-good" movies. Just because a movie has a bad script, bad actors, and bad direction doesn't necessarily make it fun (or funny). So what's the "x-factor" that keeps us watching?
Ross, thanks for the recommendation. This was the first Russ Meyer movie I have seen, although I have heard of his flicks for quite some time. I'll definitely be checking out Faster Pussycat if I can.
As for what makes a so bad it's good flick, I'm definitely taking some notes. I think I'll have a pretty hilarious list at the end of what seems to work for me. The x-factor might be something as simple as "sincerity" in that if you intentionally try to make a bad film that is supposed to be good, it doesn't work as well.
Not to give away the farm - I still have a few more flicks to watch but right now BVD is looking like a tough one to beat in the contest!
I would also bet that Josie and the Pussycats was indeed modeled on this (but would have to check the date--could even be that BVoD was modeled on JatP?) Given the time frame, it's not that unusual. Often adult ideas were scaled down for kids TV--or subtle adult humor was grafted into cartoons (think of Bulwinkle or Beanie and Cecil.) Sixties and 70's cartoons existed in a different world--one that got not only sanitized, but then turned into nothing more than slick marketing campaigns (hence, I love The Skelator Show on YouTube...a fitting mashup of mass marketing.)
But listening to Roger Ebert talk about the film's ending (I think it was Ebert on the delux ed) he explained the ending as a reflection of what was going on in L.A. at the time with the Manson killings. Those of us who were kids--and not living in L.A.--don't really understand the impact of those killings on that particular world. As, I think, Ebert said, the killings signified the end of innocence (or presumed innocence) of the hippie days--and that there was, after all, a very dark side to hippieness. I think that's what Meyer and Ebert were trying to capture at the end--although Meyer's own confused sexualtity and love of girl-girl action consitiutes a very odd backdrop for that message. And the weird end of tale narration might have been a way to cull some sort of psychological resolution to a larger issue. Then again, maybe Meyer just had some leftover film and wanted a montage.
I find the association with the Manson murders in BVD rather jarring and a bit creepy as one of the stars of the previous film Valley of the Dolls is Sharon Tate who was one of the victims.
I'm going to watch Valley of the Dolls (which I have never seen) and ponder this a bit more!
Thanks for visiting and commenting.
Aint the "long tail" of the Internet great where we can share all this obscure stuff!