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Faster, Pussycat! Kill! Kill! is a 1965 American exploitation film directed by Russ Meyer and co-written by Meyer and Jack Moran. It follows three go-go dancers who embark on a spree of kidnapping and murder in the California desert.
After Faster, Pussycat! Kill! Kill!, Satana primarily worked with film director Ted V. Mikels in such films as The Astro-Zombies (1968), and The Doll Squad (1973). After making Mikels' The Doll Squad in 1973, Satana was shot by a former lover. She later found employment in a hospital, a position she kept for four years.
Title Director Cast Genre Note The Family Jewels: Jerry Lewis: Jerry Lewis, Sebastian Cabot, Donna Butterworth: Comedy: Paramount: Faster, Pussycat! Kill! Kill! Russ Meyer: Tura Satana, Haji, Lori Williams
Promotional shot for Faster, Pussycat! Kill! Kill! He followed this with three other similar films, and would call this his "Gothic" period: Mudhoney (1965), Motorpsycho (1965) and Faster, Pussycat! Kill! Kill! (1965). Lorna was very successful commercially, making almost a million dollars.
Bernard starred in the Russ Meyer film Faster, Pussycat! Kill! Kill! in 1965, [4] and in two seasons of General Hospital in the late 1960s. She appeared in Playboy in December 1966, and was believed to be the first Jewish Playmate of the month, though in recent years Cindy Fuller, Miss May 1959, has claimed that she was the first Jewish ...
Actor lines are heard from the 1965 exploitation film Faster, Pussycat! Kill! Kill!. [citation needed] The popularity of the single resulted in White Zombie's first Grammy nomination for Best Metal Performance later that year. In May 2006, the song was ranked number 32 on VH1's list, '40 Greatest Metal Songs'. [6]
Haji (born Barbarella Catton; January 24, 1946 – August 9, 2013) was a Canadian-born actress of British and Filipino descent, and a former exotic dancer known for her role in Russ Meyer's 1965 cult classic Faster, Pussycat! Kill! Kill! [1]
Mondo Topless is a 1966 pseudo-documentary directed by Russ Meyer, featuring Babette Bardot and Lorna Maitland among others. It marked Meyer's return to color filmmaking following a two-year "Gothic period" of black-and-white "roughies" (most notably Faster, Pussycat!