Faster Pusssycat! Kill! Kill! (Film) Review.

 

CW: Discussion of SA and Fridging.

 

This contains discussion of plot elements of the subjective pointless killing of fem characters so may spoil aspects of the plot. Discretion is advised.

 

Sometimes, a film will dabble in dark subject matter because it is rigidly adhering to the idea said things are worth exploring. Sometimes it does it because it wants to make fun or laugh at the things it produces or even ultimately is, whether of good or bad intent. Sometimes it's in bad taste or wants to be. And sometimes, in a rare instance, it's trying to do all of that all at once and becomes something else.

 

Faster Pussycat! Kill! Kill! Is in the contenders for titles for films that will draw your curiosity in the upper echelon. It's a film made by a man who loved huge breasted women and putting them in situations where they conversly judo chop people to death and also in the most sexually and personally dangerous and immoral situations a person can drop them in. Whether it succeeds or not is a subjective mess; it's not really a film interested in the idea of being 'clean' and there's a moment or two where characters struggle with the idea of what morality really means, being far gone or too far past it, moments of people being able to be in the clear and then throwing that chance under the bus, truck or person snapping your neck after judo chopping you a lot.

 

It's a film about three gogo dancers, played by actual gogo dancers, Varna, Rosie and Brook and them just decided to do some crimes, some sex and some murder and then focuses the entire second half of its plot on a money heist and some men on an isolated farm and a lot, a lot, of sexual implication. And then, the three fem cast are, put bluntly, subjected to the judgement and execution of a plot that demands the bad suffer but also seems to run countenance to the fact this women run against the grain of what some considered perhaps acceptable for how women were allowed to present themselves in polite society of the time; they're openly sexual, confident, brutal, violent, angry, snarling and hostile. Queerness is interspersed, especially with the character of Rosie and her hesitant obedience of Varna. There's discussion from the old creepy guy they introduce through it of the idea of women 'wearing trousers, voting' to echo the idea of his incredulousness of their manner of being but the film again condones the idea, they are bad and counters them with the victim of their crimes; a younger woman who is bright, cheery, innocent and predicated upon. A sensible young man who has a good heart and believes in the good of others enough to give a chance to family who will do unspeakable harm to others but will allow ruthless cruelty in the hopes of that redemption while the women are seen and treated as animals and killed off as such, brutal manner. It's rare I discuss a plot point so specifically but the one overtly possible queer character is murdered in a way that makes her the victim of circumstance; her death reeking perhaps the most of the fact what was once progressive, gives way to regression over time. It's a good thing and I would not argue that the deaths of queer characters cannot happen; but the time and era mean that the frequency of their existence, meeting with the important manner of their dispatch cannot be overlooked or even be exhausted.

 

It is inherently into the idea as a film, violence begets punishment except for when it's the right reasons; the good souls of circumstance judging the main characters animals and running them down for their crimes. It's interesting as a story. As a narrative? It has thankfully aged poorly. And a good thing too. It's good to know the world's steamed forward like those cars ripping through the desert sands. It gives me hope when I'm tired.