Clint (Charles Pitts) is a hapless gas station attendant who is forced to go on the lam after being framed for the (shockingly brutal) murder of his cuckolding wife (Shari Eubank) by the sadistic corrupt cop Harry Sledge (Charles Napier). While on the road, Clint tumbles into a variety of sexy shenanigans, swinging with a frisky couple, getting caught in the barn loft with the nympho Austrian wife of a folksy farmer, being propositioned in the middle of the road by another farmer’s daughter and other silly stuff. Things finally start to look up though when he meets and falls for a sweet and sexy waitress (also played by Shari Eubank). Before long though, by sheer terrible luck, the despicable Harry Sledge shows up. Next thing Clint knows, he’s dodging dynamite in the desert while his lady love is strapped naked to a rocky cliff. Will this get couple get a happily ever after?

In the review for Vixen, I mentioned that while Roger Ebert called Vixen the quintessential Russ Meyer movie, I disagreed, citing this film, Supervixens, instead. While Vixen is a rollicking fun sexy comedy with many of Meyer’s trademarks (his fast-paced editing, his women with oversized assets and sex drives, a playfulness and watchability beyond the average exploitation flick, and surprisingly crisp and witty dialogue), it still feels at times like a transitional movie. Supervixens on the other hand feels fully formed and completely Meyer from beginning to end. The second act of Supervixens, with Cliff getting into various sexual hijinks, feels very similar in tone to Vixen. The horny old farmer constantly boning his busty young Austrian wife (the always voluptuous Uschi Digard) had me cracking up on more than one occasion. But surrounding these silly sexcapades is a surprisingly volatile, action-packed crime story that truly captures Meyer’s most excessive tendencies more than any of his other films. The incredibly brutal stomped-to-death murder of Cliff’s wife by Harry Sledge is easily one of the most intense and disturbing sequences ever shot in a Meyer film, so in some ways, the movie needed that much lighter second act to bring the audience back to Russ’ side before the literally explosive climax. Speaking of Harry Sledge, Napier is excellent as a truly vile creep who is equally adept at both the violent, bloodthirsty scenes while also having a sense of comic timing that makes his exit from the movie pretty funny in a Looney Tunes kind of way. This movie is delirious in all the best possible ways.

Severin has delivered another very nice Russ Meyer transfer. The film is full of bright colors that pop, and the spacious desert cinematography looks great. As far as the audio goes, we have a nicely mixed DTS-HD mono track that comes through very clean and clear and has some nice rumble to it during the more explosive moments. For extras, first we have a feature-length audio commentary from Russ Meyer, and like the Vixen commentary, it’s full of nice info, and it’s always fun to hear how candid Russ is about his movies. We also get a 24-minute archival interview with Russ from 1990 as well as a 19-minute interview with Charles Napier. I knew Napier was in several Meyer films, but I didn’t realize how close their working relationship was. It sounds like Napier was a close friend of Russ’s that helped him scout locations and even did crew work on set. We also get the Russ Meyer episode of The Incredibly Strange Film Show. I love this series and wish we could get a release of the whole thing in one set some day. But I’ll take the episodes piecemeal too if that’s the only way I can get them.

I think this movie is entertaining as heck. Supervixens finds Russ Meyer firing on all cylinders, and while some may find that a bit much, for fans of Meyer, this is one of his absolute best and a total blast to watch!