Faster Pussycat, Kill! Kill!

http://www.youtube.com/watch?v=Z9VYESAQD34

When I first discovered Russ Meyer’s 1965 cult classic, Faster Pussycat! Kill! Kill!, I was attracted to the retro images. Moreover, I was inspired by the grit, honesty, grace, humour, and command of the characters within the film. The film conveyed a seemingly backwards form of feminism that stemmed from a female’s sense of sexual prowess. Something that is rare to come by, especially given the decade of its production. The film appeals to our curiosity when it comes to the taboo as it is was considered an underground exploitation flick that dealt with images and topics that were not addressed in mainstream film.

The low-fi grit of Faster Pussycat, Kill! Kill! is indicative of the early 1960s. It taps into each of our own visceral and animalistic tendencies. It is sensationalist. It is able to debase men by revealing women’s physical and psychological power to possess and affect men. These women are tough and know how to kick butt by using their curves.

Anyone who has a libido, a sense of humour, an active imagination, or a craving for stimulation and adventure would be intrigued by this portrayal of go-go dancers in a club. It is both a source of entertainment (in an actual film) and a provided service (go-go or burlesque dancing).

The images are perceived via the various perspectives that are shown. There is an obvious correlation the dancers and the voyeurs. The iconic black and white composition, the dancer’s iconic costumes and haircuts, and the garage music playing suggest that this is the 1960s and that they are go-go dancers. The lyrics to the song played suggest a lurid nature to these women as it states “You can’t catch her…[but] just you try.”

To watch these dancers, you just need to be a voyeur. No physical effort is needed. Even a person in a wheelchair can enjoy themselves visually. Anyone with a libido or a sense of humour can enjoy this film clip. It does not require a high level of intelligence because a striptease is instinctual.

Still, a relationship is formed between three components of the moving image: the girls, the men, and the jukebox playing the music.

Forgiveness within the design involves the men’s requests to hasten the pace of the girl’s gyrations in order to arouse themselves further. The men react to every specific bodily movement with a reaction, both visual and oral (by hollering “go baby go!” and “harder, faster”).

With that, the girls get more “into” the music as overall mood becomes more and more chaotic.

As outlined by Ockham’s Razor, the dancers’ costumes also add to the level of arousal as they move and sway along with their hips and the melodies. The viewer is also privy to three different varieties of dancers to gaze at from below. This includes an excitable blond, a flexible brunette, an exotic brunette. All of which are quite busty.

Although this performance does not rely heavily on high tech equipment and advanced technology, it prefers to project the recognizable female form alongside pre-recorded music. Such simple addition is more effective than any flat image can provide. This is evident as botht he men and the women appear to be enjoying themselves.