Cult sexploiter Russ Meyer cranked up his giddy formula of fast pacing, breathless editing and weird camera angles to overdrive for this exaggerated cartoon romp, complete with a “That’s All, Folks” ending.
The convoluted plot detailing the sexual misadventures of a man on the run for a murder he didn’t commit includes escaped Nazis, psycho cops and reincarnation alongside the usual bevvy of well-proportioned fantasy females.
Clint Ramsey (Charles Pitts) is a likeable mechanic who just wants a simple life. Unfortunately, his wife SuperAngel (Shari Eubank) is a jealous, insatiable tyrant who is convinced that Clint is having his wicked way with every woman he meets.
After Clint and Angel have yet another blazing row, Clint decides to drown his sorrows; meanwhile, thuggish redneck cop Harry Sledge (Charles Napier) pays Angel a visit. Harry’s inability to perform in the sack and Angel’s subsequent taunts lead him to kill her.
With the finger of blame pointed straight at him, Clint hits the road for an eventful trip across country.
Clint’s escape from the law is marked by a series of encounters with buxom, sex-mad girls, whose sexual advances inevitably get him into trouble with their boyfriends/husbands/fathers. There’s the Austrian milkmaid SuperSoul (Uschi Digard), who forces herself upon Clint in a barn, and deaf-mute SuperEula (Deborah McGuire), whose crazed father chases Clint out of the county.
Conversely, it’s Clint’s rejection of lustful gropings from SuperCherry (Sharon Kelly) that leads him to be beaten and robbed by her boyfriend. Finally, Clint finds love and contentment in the arms of good-hearted garage owner SuperVixen (Shari Eubank again), but a chance meeting with the murderous Harry Sledge once again threatens his happy life.
Numerous characters pop up from Meyer’s own back catalogue in a delightfully manic rollercoaster ride through the sexual mores of mid-1970s America, laced with outrageous comedy and extreme violence.
The dynamite climax is exactly that and has to be seen to be believed.