|
 THE
VERY BREAST OF RUSS MEYER - Paul A. Woods
Plexus Books
Considering
the fact that he's one of the biggest names in cult movies, it's
surprising how few books there have been about Russ Meyer. The
reason for this is simple: Meyer himself. Notoriously litigious,
Meyer made it more or less impossible for any publisher to tackle
his work, particularly if they wanted to use illustrations.
Inevitably,
since his death, several authors and publishers have moved to
fill the gap. There are three books on Meyer that I know of due
in the next couple of months. This is the first, and can at least
claim to less of a coffin-hopper than the others. Editor Paul
Woods was in fact working on this project for some time and Plexus
were, by all accounts, ready to face Meyer's legal wrath.
In
fact, the oddest aspect of this book is the amount of time it
has taken to complete, given that it consists almost entirely
of previously published material. Woods has collated a number
of articles, interviews and contemporary reviews of Meyer's work,
to provide a chronological overview. This is both good and bad.
The
bad side is that the book has no constant focus - no voice so
to speak. It also repeats itself a little bit too much - inevitable
when you have career-spanning interviews perhaps. I would've preferred
a book by a single author, although Paul's choice of features
is generally good. The coverage of the doomed Sex Pistols film
Who Killed Bambi? is especially welcome - the experience
of this film virtually ended Meyer's career, so it needs more
discussion that is usually found in writings about the director.
On
the plus side, it's always interesting to read material about
the movies that dates from the time of release. You can track
Meyer's career, his ups and downs, and - sadly - his decline.
The book ends with a particularly depressing piece from The
Observer, ostensibly about Meyer's starlets but written in
2001, when Russ was in the grip of dementia, his empire controlled
by faceless accountants; and with Jonathan Ross' Guardian Lecture
interview, where the signs of Meyer's mental decay are beginning
to appear. To think of this vibrant, funny man reduced to a confused,
angry figure, unable to recognise friends and family, is too depressing
for words.
Meyer's
best legacy is, of course, his work, now just emerging on DVD
in the UK. But as a primer to Meyer's world of huge tits, square
jaws and ultravixens, this is a generally admirable effort.
DAVID
FLINT
BUY
IT NOW.
|
