Supervixens 4K 1975

SuperSoul, played by Usha Digard, is a dream come true and a curse for her elderly husband, an honorable farmer. The young lush-breasted beast does not leave her man alone, not for a moment, while still managing to keep an eye on other men. Milking cows for her is certainly work, but she is ready to combine her labor with pleasure. And if her husband finds out, well.... This super vixen can make a deal with her husband.

Super Angel is a real curse for an insecure man. If the man has a weakness, this vixen will systematically sway the situation to the point where either the man is eliminated or the beast in him awakens. What if the new man turns out to be a psychopath? Especially since he's a cop. But where's the guarantee that the psychopath wasn't made by that sweet vixen?

SuperLorna and SuperHaji didn't reveal as much in this picture (in every way), but there's every reason to believe that these two could turn out to be just as evil as SuperAngel or SuperVixen.

By the way, and I haven't written a word about SuperVixen yet. She's just perfect. She looks for a man, meets him, and gets him herself. When she's in love, she's even willing to sacrifice herself. As long as her lover lives. But is it that simple with this vixen? After all, her previous husband definitely died before his time. There's a reason for that.

Super Angel, Super Soul, Super Lorna and Super Haji. What kind of 'Meggers' are they? They're true 'vixens' - a mix of 'chanterelles' and 'witches', sexy, juicy, beautiful and exuding vibes of desire. They don't have an ounce of grumpiness, but they have plenty of other perks. And it's not just the busts. Although without the slightest irony, the movie can be recognized as an ode to large female busts. What's not propaganda?

The most surprising thing is that, by and large, no one had done this before Russ Meyer. By the mid-'70s, movie propaganda had somehow captured all possible perversions and destructions. But Meyer bet on trivial 'big boobs' more than once pulled down the conventional 'jackpot' with the fees on his movies. Judge for yourself, 'Super-Vixens' cost 100 thousand dollars, and brought the most conservative estimates of 17 million. Isn't that a real success?

Well, and the funny roll call with 'Psycho' through the story of a psychopath - a policeman who was not the usual hysterical killer, hiding his impotence, not that, just could not cope with one of the vixens and killed her in the most brutal way - nothing but a foreshadowing of the early, not yet quite filled with sentimentality, thrash Almodovar. On the other hand, the movie not only foreshadowed Fellini's 'City of Women', but also, thanks to its frankness, made the famous Italian's aesthetic opus completely bland. After all, Russ Meyer's simple-minded directorial style is much bolder than Fellini's fantasy detachment from the joys of existence. And it is quite right that the famous film historian Jürgen Müller includes 'Super-Vixens' in a very limited list of the best pictures of the 70s.