More Tura

More Tura

Superwomen Belted, Buckled and Booted

Several weeks ago I caught a showing of Faster, Pussycat! Kill! Kill! on Turner Movie Classics. The cult film that has inspired Todd Oldham’s fashion and John Waters’ movies was something I’d always intended to see, but had never made the effort to.

Shame on me.

Within seconds I was mesmerized; held within the thrall of Ms. Tura Satana.




It’s not just that she’s uniquely beautiful. Her curves are kickin’, her cleavage unparalleled, and her stare arresting; Satana could steal the show simply with her formidable presence. But it’s so much more that makes her role as the vicious Varla iconic.

For those not in the know, F,P!K!K! is a Russ Meyer film from 1965. With taglines like “Meyer’s ode to the violence in women!” and “Filmed in Glorious Black and Blue” you know you’re in for an art trash treat.

The movie begins with a wacky pseudo-beatnik/pseudo-Rod Serling introduction over an Outer Limits-esque screen:

"Ladies and Gentlemen, welcome to Violence. The word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains - sex. Violence devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn't only destroy. It creates and moulds as well. Let's examine closely then this dangerously evil creation, this new breed encased and contained within the supple skin of woman. The softness is there, the unmistakable smell of female. the surface shiny and silken. The body yielding yet wanton. But a word of caution: handle with care and don't drop your guard. This rapacious new breed prowls both alone and in packs. Operating at any level, at any time, anywhere and with anybody. Who are they? One might be your secretary, your doctor's receptionist, or a dancer in a go-go club!"

And the go-go dancing commences. Odd-angled camera shots show close-ups of Varla, Rosie, and Billie (Satana, Haji, and Lori Williams, respectively) shimmying with fervor. Satana’s contortions are especially remarkable; but of course, this former burlesque dancer is the woman who claims to have taught Elvis how to gyrate and grind.



After work, entertainment for the grrrls consists of driving Porches at top speeds in the Mojave desert, playing chicken, bisexuality (or as one character calls it, “AM/FM”), skinny dipping, smokes and booze.



Varla is icy-cool and wildly psychotic. She’s the unspoken leader of this gang of go-go dancers, one of whom describes her as being “like a velvet glove cast in iron.” Varla’s sensuality and hard personality are an intimidating intoxication which allows her to easily manipulate others.

Whilst in the desert the women come across a cocky young man named Tommy, and his annoying, bikini-clad girlfriend, Linda (Susan Bernard, apparently Playboy magazine’s first Jewish playmate). Tommy’s a member of a driving club and wants to do some timing out on the flats. Perky Linda is prepared with a stopwatch, but Varla goads Tommy into a race by letting him know that she’s a better driver than he could ever be.

“I don’t beat clocks, just people.”

Varla wins the race and Tommy, feeling emasculated, attempts to physically beat her down. But he chose to mess with a woman could take care of herself.



Varla breaks his back and kidnaps his girlfriend.

And that’s just the first 20 minutes of Faster, Pussycat! Kill! Kill!



From a contemporary perspective, it's as if Quentin Tarantino, John Waters, and Ed Wood had made a film together. It's exploitative to the max, yet also oddly (mildly) empowering—without ever intending to be. The clothes are fabulous, as is the wickedly delivered bad dialogue. All of Varla’s lines are shouted—a ludicrous technique that Waters would incorporate into some of his own work. F,P!K!K! is offensive, and thrilling; a bad grrrl Thelma and Louise meets Kill Bill meets Pricilla Queen of the Desert meets Glen or Glenda. With lot's of camera angles completely swiped from Orson Well's Citizen Kane.

As David Schmader has said of Showgirls, another awesomely awful film, and it’s a fitting commentary here too,

"The subtext is staggering until you notice there is no subtext."

In my research Varla has often been referenced as a proto-action heroine—a complicated, if not problematic, reading to be sure. In a feminist interpretation questions to ask include: What are the criteria for an action heroine? Does Varla fit these in any way? Does being a villain negate her feminist potential? What about the objectification of her body—or is she in control of that? How does “The Kick-Ass Life of Tura Satana” (as is the title of her in-the-works autobiography) play a part?* What about the director’s intentions?

Writer/director Russ “he-who-loves-big-bosoms” Meyer has said, “I personally prefer the aggressive female . . . the superwoman.” As with William Moulton Marston, creator of Wonder Woman, his desire is not to experience an heroic woman but a dominant one. There’s essentialism in the work of both these men. Their belief that women are the superior sex makes for a difficult feminist interpretation (as I believe in feminism as a philosophy of equality).





But just because Marston and Meyer had fetishistic leanings (bondage and breasts respectively), it doesn’t mean that feminist potential can’t be found (or that sexual play/the female body can’t be celebrated). Many have found inspiration in Wonder Woman’s altruism and empowerment in Varla’s karate chops.




Here, though, in the world of the Pussycats, the deepest message about gender (and female bodies) is that women have just as much potential for selfishness and evil as men. One could suggest that their wild desert antics are a release from their evenings of objectification. That their violence stems from the filthy behavior of men. But as my husband asked upon viewing, “Why, then would they put themselves in that situation to begin with?”

It’s a world of contradiction. Sex and sex work can be empowering, it can also be demeaning. There are no easy answers. What is unique, or at least was in 1965, was to see a woman who was capable of defending herself.






*Varla is heavily infused with Tura, and Satana is spellbinding. How does an actresses’ personal life/embodiment contribute to the experience and/or interpretation of the character? When I met her at Comic Con (at her autograph booth) I told her how exhilarating it was to watch her as Varla—to experience a woman so powerful. She replied, “You know what it is? It’s that I’m just as powerful in person as I am on screen.”


For more on Russ Meyer and Faster, Pussycat! Kill! Kill! buy, Big Bosoms and Square Jaws




For more on the multivalence of female action heroes, particularly on negotiating simultaneous feelings of disgust, pleasure, empowerment and embarrassment, buy the fabulous, Super Bitches and Action Babes:



For more on women and violence on screen buy: Reel Knockouts

Overview of Our Trip to Comic Con International 2007

This was our second trip down to San Diego for the convention and I was once again speaking at the Comic Arts Conference. Ryan was documenting the exhibition floor, as well as the Con experience as a whole, for Microsoft Game Studios to convince the company that they really ought to have a presence there.

Upon arrival we decided that we would skip preview night and head up our hotel in La Jolla after picking up our badges. We figured a nice dinner, hot baths, and some good sleep would be more beneficial than shopping in a crowd.

Thursday morning we arrived downtown bright and early, checked out the floor and then I went upstairs to see the Comics and Education panel where I met Trina Robbins, Diana Green, Katherine Keller, and Melissa Andrada for a Women Comics Scholars lunch.

After lunch I met up with Ryan and waited for Tura Satana to begin her autograph session. I was first in line (and oddly the only woman there) and was actually a little giddy. I had just seen Faster, Pussycat. Kill! Kill! for the first time and was in awe of Satana’s formidable sexiness. She signed two photos for me (one for a friend who was watching our doggie, Giles, over the weekend) as well as a Region 2 DVD copy of FPK!K! Ryan had bought me a FPK!K! lunch box to have her sign, but I was worried I was one of those fans who was taking up too much of her time. But she was really lovely, and ever so nice. Completely Varla and completely kind, almost, maternal.

Since I hadn’t been down to the exhibition floor, we took a look around and I splurged on a limited edition copy of The Modesty Blaise Companion, complete with a bookplate signed by Peter O’Donnell (and Dick Giordano) from Bud Plant. Friday, we returned to the floor for a couple of hours. I was wearing my Television Without Pity, “The Sky’s the Limit: Petrelli for Congress” t-shirt, and while at the Heroes booth I was asked by a guy from NBC.com if he could interview me for one of their web exclusives. I was number 26, and it appears they have already posted the first 5 interviews, so we’ll see if I show up.

Because there wasn’t anything I’d be upset about missing Friday afternoon, and because hubby had been begging, we went to Disneyland for the afternoon. We managed to only get on three rides before hitting exhaustion but it was nice to see Ryan so happy.

On Saturday, Con attendees left the crowded exhibition floors for the crowded panels upstairs. Undoubtedly, one of the biggest draws was the line-up in Ballroom 20 which began the day by screening the pilot episode of the reimagined Bionic Woman (review forthcoming). This was followed by an as-always mediocre “TV Guide Hot List” a session which generally serves as filler between desirable panels. Indeed, the Heroes cast, along with Tim Kring and Jeph Loeb appeared next—which was great fun for us geeks. The session was well paced and was broken up by fan Q&A (including an audience question from Danny Bonaduce), teasers, cast camaraderie, and a surprise guest appearance from Kevin Smith who will be writing & directing the first episode of the Heroes tie-in/spin-off, Origins. The announcement was a complete surprise to the cast, who were clearly delighted. The audience also received some cool swag: a special CCI 2007 edition of a Heroes comic, and an exclusive CCI 2007 DVD Box Set sleeve. Heroes Season One will be released on August 28, 2007.

We had to miss the rest of the day in the Ballroom (Battlestar Galactica, Futurama, and Joss Whedon) as I had to give my Modesty Blaise presentation at the Comic Arts Conference and the line to get back in to B20 was doubled through the building, as well as doubled outside. Many people wasted their days standing in line, in the hot sun, for a nominal chance at entry. It’s too bad they opted to wait instead of being flexible or adventurous enough to sample everything else the Con had to offer.

Saturday afternoon we went to see “Lara Croft: Re/Visioned”—a panel featuring writers and artists who were asked by Gametap.com to rethink the character for short animations to be featured on the site. The concept was intriguing—I particularly look forward to seeing Gail Simone’s take on Lara as a teenager—but the panel was one of the most boring we’d ever seen. Jim Lee and Simone had to leave in the middle of the session to go to another panel for Wildstorm. Peter Cheung was uncooperative (bordering on antagonistic) with a you-don’t-get-me-at-all-I’m-embarrassed-for-the-both-of-us attitude towards the moderator. Warren Ellis was obviously exhausted. Everyone lacked the energy to show even the slightest enthusiasm and gave the impression that it was just one more panel they were required to participate in. It was kind of a bummer because I’ve only now started appreciating the character after reading and falling in love with Modesty Blaise.

Next, we went to see the pilot for The Sarah Connor Chronicles (again, review forthcoming) and though we were seated in the very last row of the room we enjoyed the show and Q & A very much. And even though we were cold, tired, and hungry we figured we might as well stay for the Smallville panel since we were already seated (we did leave when the fan questions started as unlike B20 the room didn’t seem to have a “kill switch” on the question mike. After 10 hours at the convention center I had no patience for inarticulate nerds). Allison Mack wasn’t in attendance, but it appeared from the teaser promo that her character may be alive (many boos from the audience when it seemed she was dead, many cheers when we saw her body sit upright in the morgue). Let’s hope being a Krypto freak saves her because after last season’s bout of crap the only reason I’ll continue tuning in is to watch Chloe. And maybe Martian Manhunter. The new Supergirl was there, but she didn’t say much.

Sunday was our last day and we separated for the first half of it. Ryan went to the exhibition floor to do some more documenting for MGS, and I went to see the Super (Natural) Women panel featuring Lucy Lawless, Lisa Klink, Marti Noxon (who arrived 4 minutes before the session ended due to an Amtrak SNAFU), Allison Du Bois, and an actress from The 4400—which I haven’t watched. I’ve also never watched Medium, but was truly intrigued by Du Bois and will have to either give the series a chance or pick up one of her books.

I went to see Trina’s presentation on the feral women of L’il Abner, but the organizer of the Comic Arts Conference who was responsible for bringing her slide presentation to San Diego had forgotten to put it on his on computer—and had assured Trina she didn’t need to bring a back-up (but the guy’s a new dad and probably hasn’t had any sleep in the past 3 months). It was too bad because it was clear she was looking forward to the presentation—she’d even sent away for a leopard print dress to wear for the occasion. She’ll be taking it all to the much more manageable Wonder Con next February instead, where I’ll hopefully be giving my Modesty talk.

Trina invited me to have lunch with her and Diana again, but I was planning on meeting Hubby for some last minute shopping. After picking up a set of TV tie-ins for The Avengers we decided we were done & done—even though we’d planned to go to two more panels. Instead we got some lunch at a hotel downtown—had two glasses of wine each AND shared a desert then headed to the airport where we had two large margaritas each. We figured all the walking we did (4 or 5 hours a day, each day) countered all the calories we consumed. Upon returning home I was happy to find that I did not gain any weight.

As usual I’ve gone through my post-con three days of exhaustion only to wake up this morning well-rested but with a head cold. I guess there’s only so much Vitamin C and Purell can do when faced with 143,000 people.