REVIEW – Beyond the Valley of the Dolls (1970)
FilmJuice have my review of Arrow’s re-release of Russ Meyer’s Beyond the Valley of the Dolls. The film revolves around a group of female rock musicians who decide to leave home and try their luck on the LA music scene. What they find is a scene replete with sex and drugs where fame is just as likely an outcome as death. Initially wowed by the glamour and raw sexuality of their new friends and hangers on, the band lose sight of the music and each other before re-discovering themselves and asserting their basic moral character. In other words… it’s the cinematic version of Josie and the Pussycats only without the tunes and satirical edge:
The problem with Russ Meyer’s Beyond the Valley of the Dolls is that while Meyer had been working in Hollywood for a few years, neither he nor his screen-writer the film critic Roger Ebert had any idea as to what LA’s sinister underbelly was actually like. Meyer was 48 when Beyond the Valley of the Dolls was released and so the image of Hollywood he wound up ‘satirising’ was one with little or no basis in reality. Beyond the Valley of the Dolls is not so much humorous as embarrassing in that characters wander around spouting 60s-inspired gibberish like “don’t bogart that joint” and “I’d love to strap you on”. It’s funny enough the first few times but the well is shallow and Ebert’s script keeps digging long after the audience is being served refreshing glasses of dirt. Moving beyond the thin attempts at satire are juvenile attempts at transgression that usually boil down to footage of enormous bouncing breasts and moments of gay panic.
Some critics describe Beyond the Valley of the Dolls as a satire of the LA scene but the satire rarely rises above the level achieved by Rowan and Martin’s Laugh In, which I assume provided the bulk of Ebert and Meyer’s ‘research’ into 60s counter-culture.
Meyer is a director who reminds me a lot of Roger Corman in so far as his fame seems to be a reflection of financial realities rather than genuine authorial vision. Both directors arrived on the scene after the collapse of the studio system and TV’s wholesale annexation of cinema audiences. Corman and Meyer made money and brought in younger audiences by filling cinema screens with sex and violence and so have come to be hailed as pioneers but the directors of the American New Wave did much the same and yet produced art rather than the grubby, stupid and lacklustre nonsense that we have come to associate with Corman and Meyer. As I say in my review, Meyer deserves credit for developing a vision that was uniquely his own but there really are much better Meyer films than Beyond the Valley of the Dolls. This film is unfunny, unsexy, unexciting and egregiously reactionary. Ugh.