Meyer said the film "was a little bit autobiographical" but also which "borrowed liberally from a number of people I knew". [8] A Dirty Deal?: Pornography Ruling Causing Confusion and Chaos, Many Traditional Publishers and Filmmakers Say" by EARL C. GOTTSCHALK JR. Wall Street Journal 16 July 1973: 28.

Fleeing from the farm, Clint meets a motel owner and his deaf daughter, SuperEula ( Deborah McGuire), who convinces him to take a ride with her in her dune buggy to have sex in the desert. They are caught by her father and chased out of town.

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Supervixens is a 1975 American film directed by American filmmaker Russ Meyer. [2] The cast features Meyer regulars Charles Napier, Uschi Digard, and Haji. The film also features Shari Eubank (in a dual role) in one of her only two film roles and Christy Hartburg in her only film role. Meyer flew to the Mauna Kea Hotel in Hawaii in September 1973 and wrote the script. It was the first screenplay he wrote entirely by himself and he did the first draft in eight days. Meyer says he rewrote it nine times, with input of the actors. "I think actors contribute to the comfort of words because it's one thing to sit in a little green room somewhere and write dialogue, but when you hear actors speaking it, it doesn't necessarily flow as well as it might," said Meyer. [8]

Meyer said Supervixen wearing white was a tribute to The Postman Always Rings Twice. "She's good, pure." [8] He wanted to hint that Superangel maybe did not die in the bathtub but wound up reincarnated: Vincent Canby of The New York Times wrote that the film "looks sort of ritualistic, sort of perfunctory, made up of actions whose original meaning and purpose have been forgotten ... 'Supervixens' is a curio for film buffs." [13] Gene Siskel of the Chicago Tribune gave the film one star out of four and wrote that "Meyer has lost the sense of humor that occasionally made his films enjoyable. The humor has been replaced with repulsive amounts of violence." [14] Kevin Thomas of the Los Angeles Times said Meyer explored "as never before to such an extent the dark underside of his erotic myths. It's 'Supervixens,' not ' The Day of the Locust,' that's genuinely apocalyptic." [15] Cultural references [ edit ] As a groundbreaker cultural revolutionaire, Meyer was ever watchful for adding sly remarks about American Society. Especially insightful are these: Censoring the Cinema: 'Obscene' Is Never Having to Say You're Sorry: Obscenity and the Court" by Tom Shales. The Washington Post 3 Mar 1974: E1. Siskel, Gene (May 2, 1975). "'Supervixens' isn't, the porn's forlorn". Chicago Tribune. Section 3, p. 3.As a humorous sidenote, in the end credits of the film the names of all participants have been changed either partially (Uschi Bristol instead of Digard) or completely (Brown Pants, C. Unt). Shari Eubank is credited as 'Shari Sheridan'. Edy Williams, Myer's ex-wife, later sued unsuccessfully for a portion of the film's profits. [16] See also [ edit ]