Review of Russ Meyer's Vixen Trilogy - 4K Ultra HD

      **Vixen/Supervixens/Beneath the Valley of the Ultravixens**

      Directed by Russ Meyer

      Starring: Erica Gavin, Harrison Page, Garth Pillsbury, Charles Pitts, Shari Eubank, Charles Napier, John Lazar, Kitten Natividad, Sharon Kelly, Ann Marie, Uschi Digard, Candy Samples, Stuart Lancaster, Russ Meyer.

      **SYNOPSIS:**

      This release features the first three restored Russ Meyer films in 4K UHD, brought to you by Severin Films in collaboration with The Russ Meyer Trust. While not presented as a box set, these are three standalone titles by the notorious cult director that illustrate a partnership between the boutique label Severin Films and The Russ Meyer Trust, marking the first official release of his films in a pristine HD format.

      And what a treat these films are to experience in stunning 4K UHD! If you're unfamiliar with Russ Meyer’s work, be forewarned that his outrageous sex comedies are not for everyone. Those averse to explicit nudity and unconventional sexual themes might want to look elsewhere. However, if you're seeking entertainment mixed with a cheeky, subversive message directed at societal norms, these films will suit you well. That said, the true brilliance lies in the visual quality of these new transfers.

      Starting chronologically, 1968's *Vixen* is the first film, forming the shortest and most politically charged offering of the trio. It confronts prevailing societal taboos such as racism, sexism, incest, and homosexuality, encapsulated in the story of Vixen Palmer (Erica Gavin), who is married to bush pilot Tom (Garth Pillsbury) in the Canadian wilderness. While Tom tends to tourists, Vixen indulges herself freely, often with resort guests, her younger brother, but not his friend Niles (Harrison Page), whom she ridicules based on his race and his evasion of the Vietnam draft.

      An attractive husband and wife arrive at the resort, catching Vixen's attention; however, the wife struggles to elicit similar interest from Tom as she attempts to showcase her allure.

      The film has more layers, particularly in the final act, which shifts the tone from lightheartedness to a more intense atmosphere reminiscent of a siege film. Nevertheless, it serves as a solid introduction to Meyer’s oeuvre. Erica Gavin excels as the sexually liberated Vixen, embodying the 1960s counterculture and reflecting Meyer’s notably “progressive” outlook. If you're uninterested in the underlying political commentary and seeking just the sexual elements, you'll find plenty of nudity as Gavin is frequently seen unclothed, engaging with various characters. The caliber of acting is commendable, especially from Harrison Page, and Meyer’s dynamic camera work adds energy to the film.

      Next is *Supervixens* from 1975, which parallels *Alien* becoming *Aliens* in that it escalates the stakes with new threats, albeit of a different nature. Following a conflict with his envious wife SuperAngel (Shari Eubank), mechanic Clint (Charles Pitts) sets out to clear his mind while she pursues local corrupt cop Harry Sledge (Charles Napier), resulting in chaos when Sledge brutally murders her.

      Accused of the crime, Clint goes on the run, encountering a series of eccentric characters, including German nymphomaniac SuperSoul (Uschi Digard) and SuperCherry (Sharon Kelly), along with the strip club owner SuperVixen, also played by Eubank—hinting at where the storyline is headed. However, Sledge is in hot pursuit, leading to chaotic confrontations filled with revenge.

      *Supervixens* has a darker tone than *Vixen*, yet still entertains, as Meyer knows his audience’s desires. The film features women shedding their clothing in exuberant abandon. Charles Napier stands out in a familiar tough-guy role, showcasing his signature angry demeanor, especially in the uproarious final act. In contrast, Charles Pitts lacks the charisma required for his role, while Eubank earns accolades for her dual performance.

      At 105 minutes, *Supervixens* feels about 20 minutes too lengthy and begins to drag before Napier’s character loses control, but among the three films, it is perhaps the most accessible and rewatchable.

      Lastly, 1979's *Beneath the Valley of the Ultravixens* attempts to escalate the preceding craziness, though not in a favorable manner. In Russ Meyer’s ultimate theatrical release, plot and performance give way to excessive sexuality. While it offers plenty of nudity, the enjoyment factor diminishes, and it feels overly sleazy.

      The camera work focuses more intensely and lingers in ways that resemble a biology educational film. While it's clear why viewers are watching, there's little beyond the sexual content, devoid of sub