Flowers without fragrance

from Wikipedia, the free encyclopedia
Movie
German title Flowers without fragrance
Original title Beyond the Valley of the Dolls
Country of production United States
original language English
Publishing year 1970
length 104 minutes
Age rating FSK 16
Rod
Director Russ Meyer
script Roger Ebert
production Russ Meyer,
Eve Meyer
music Stu Phillips
camera Fred J. Koenekamp
cut Then Cahn
Dick Wormell
occupation

Flowers without fragrance (English original title: Beyond the Valley of the Dolls ) is an American feature film from 1970 . It was Russ Meyer's first job as a director for a large Hollywood studio. The film depicts the rise and fall of a girl rock band, thematically based on Jacqueline Susann's novel Das Tal der Puppen ( The Valley of the Puppets) and the film of the same name from 1967, but without foregoing the typical elements of previous Russ Meyer films: screenwriter Roger Ebert describes the film as a " camp - sexploitation - horror - musical that ends in a quadruple ritual murder and a triple wedding". The film was panned by critics , but turned out to be a hit with the public.

action

The rock group The Kelly Affair consists of the three girls Kelly, Casey and Petronella. Harris, the band's young manager, is friends with Kelly. The band receives an invitation to Hollywood and travels by car across the USA to California . When Kelly visits her aunt Susan, who runs a photography studio, in Los Angeles , she learns that she can get a share of a family inheritance worth several hundred thousand dollars. Susan's lawyer, the seedy porter, is against the young girl inheriting the money and would like to see his client Susan as the sole heir.

The Kelly Affair are invited to a party hosted by music producer Ronnie "Z-Man" Barzell, where the rock group Strawberry Alarm Clock plays. At the party, the girls and their manager Harris get to know the porn actress Ashley St. Ives and the narcissistic actor Lance, among others . While Ashley is flirting with Harris, Petronella makes contact with law student Emerson. Casey finally arouses the interest of the lesbian fashion designer Roxanne. The Kelly Affair are invited to the stage and inspire the audience with their lecture. Music producer Z-Man gives the girls a record deal and gives them the new name The Carrie Nations . The band can already celebrate great successes after a short time.

After a Carrie Nations concert , Ashley seduces Harris in her Rolls-Royce . Kelly sleeps with actor Lance, who tells her she deserves a far greater share of the inheritance. Lance hopes to get the money himself in the end, because he makes a living mainly from being supported by rich women. Meanwhile, Petronella and the student Emerson are happy and sleeping together. Susan's attorney, Porter, intrigues against Kelly without Susan's knowledge and wants to fob her off with an amount of $ 50,000. Kelly, however, manages to seduce Porter to keep him from his plans for the time being.

Z-Man throws another party where Susan meets her old love Baxter. The two fall in love again. Susan furiously fires her attorney Porter after finding out that he was trying to betray Kelly. While boxer Randy flirts with lonely Petronella because her boyfriend Emerson is busy studying, Ashley dumps Harris and turns to Lance. Jealous Harris engages Lance in a brawl.

Harris seeks consolation from Casey, who is now addicted to pills . On her advice, he also takes sedative pills, but the next morning she puts him out of the door because he violated her during the night. Emerson catches Petronella and boxer Randy red-handed in bed, and an argument breaks out between the two, in which Emerson is injured. During a television appearance by the Carrie Nations , the desperate Harris falls from the lighting stage and suffers from paraplegia . Casey, who is pregnant with Harris, aborts the child on the advice of her friend, the fashion designer Roxanne. Randy does not want to give up Petronella and seeks her and Emerson. Petronella can only stop Randy's aggressive behavior with a knife.

Z-Man invites you to a costume party. He himself goes as a superwoman, while Lance is disguised as Tarzan . A sex orgy develops under the influence of peyote and hashish . Roxanne and Casey sleep together. Z-Man tries to seduce Lance and lets him realize that he is really a woman by exposing his breasts. Lance taunts Z-Man and gets so mad that he / she decapitates Lance with a large sword. Z-Man's next victim will be his / her German servant Otto, whom he / she pierced with a sword on the beach. Then Z-Man shoots the sleeping Roxanne. Casey can call her friends for help over the phone. Kelly, Petronella, Emerson rush to Z-Man's house with the paraplegic Harris, but when they arrive, Z-Man also murders Casey. The friends manage to catch and kill Z-Man. As a result of the shocking events, Harris heals spontaneously : he can walk again.

A comment from the off , warning of the dangers of show business for young people, leads to the film's epilogue . A triple wedding is celebrated, at which Kelly eventually marries Harris, Petronella her Emerson and Susan her old new love Baxter.

History of origin

Script and preproduction

In the course of the crisis in the film industry at the end of the 1960s, 20th Century Fox also had to think about improving its earnings situation. The studio was still suffering from the Cleopatra financial disaster in 1963 and had last appeared in expensive but unsuccessful musical films like Star! (1969) and Hello, Dolly! (1969) invested. A possible film project at the time was a sequel to the film The Valley of the Puppets . Fox had secured the rights to the title Beyond the Valley of the Dolls and commissioned several script versions, on which the writer Jacqueline Susann also worked, but the result was not satisfactory. Richard D. Zanuck was on Russ Meyer, who just celebrated success at the box office with his inexpensive and independently produced sex films Ohne Gnade - Schätze ( Vixen!, 1968) and Megavixens ( Cherry, Harry and Raquel!, 1969), as possible director of this Project attentively.

Russ Meyer (left) and Roger Ebert (right) in 1970

Meyer got a contract with Fox, making it the first time in his career to work for a major Hollywood studio. Meyer was to receive a fee of $ 90,000 and a ten percent share in the profits for the film, of which only the title was known so far. Meyer moved into an office at Fox and hired the young, hitherto relatively unknown film critic Roger Ebert as a screenwriter. The director hoped that Ebert, who was twenty years younger than him, could adapt a script to the mentality of a young audience who at the time were turning away from the sedate, large-scale productions and preferring more personal films like Easy Rider (1969) that corresponded to their own attitude towards life . Frasier comments: “Ebert's greatest contribution to film was without a doubt his youth. He knew the jargon of the subculture of the late 1960s. "

Ebert took a break from his employer, the Chicago Sun-Times , and initially worked with Meyer on a treatment in ten days , for which the two received a fee of $ 5,000. Based on this treatment, Fox gave them the green light to write a script. After six weeks of work, the two were able to present a finished script, for which Ebert received a fee of $ 25,000.

Originally, Barbara Parkins was supposed to repeat her role as Anne Welles from The Valley of the Dolls in Beyond the Valley of the Dolls , but the plan failed because the fee was too high. Meyer relied on many of his regular actors for the cast, but none of them received more than $ 500 a week. Edy Williams was the only actress employed by Fox and received a correspondingly higher salary. As the leading actress, Meyer hired Dolly Read , who had been seen as a Playmate in Playboy in May 1966 . Her colleague, Cynthia Myers, was a Playmate and featured in the magazine in December 1968. The line-up for the girl band was completed by Marcia McBroom , a popular African American photo model. A total of 55 actors were featured in the credits , an unusually high number at the time.

Production and post-production

The film budget for Beyond the Valley of the Dolls was $ 1,300,000, but only about $ 700,000 remained for the actual film shoot; the rest had already been devoured by the cost of naming rights and the original script versions. Nevertheless, Meyer was able to fall back on a sum that was many times the budget of his previous films. Filming began on December 2, 1969 and lasted 55 days. For reasons of economy, it was mainly shot on existing sets of earlier films on the Fox studio premises. For some takes - such as the scenes that portrayed the cityscape of Los Angeles in a quick montage - Meyer ignored the strict union rules of the American film industry and only shot them together with an assistant on the weekend.

Meyer seemed very stressed and easily irritable to those involved during the shooting; obviously the pressure of the Hollywood production bothered him. The inexperienced leading actress Dolly Read in particular suffered from Meyer's high performance requirements and even had to be admitted to a hospital in the meantime due to the rigors of the shooting. The lighting cameraman Fred J. Koenekamp - a renowned artist who received his first Oscar nomination for Patton the following year - also reports on Meyer's strict quality standards, who repeatedly admonished him to focus more carefully in order to obtain the razor-sharp images he wanted .

Although the production list shows two official film editors , Meyer edited most of the film himself. Zanuck was very satisfied with the result of Meyer's work. In February 1970 Meyer received a contract for three more films for Fox. To Meyer and Fox's disappointment, Beyond the Valley of the Dolls received an X rating from the Motion Picture Association of America . Meyer had hoped to get an R rating to make the film accessible to a young audience. For this purpose Meyer had refrained from frontal nudes and the presentation of explicit sexuality in the film. Meyer went to the MPAA three times to get a milder age rating, but was unsuccessful. McDonough suspects that the reasons for the strict youth protection approval are to be found on the one hand in the violence shown, on the other hand in the person of Meyers himself: The organization did not want to make any concessions to Meyer, who is known as a “dirty filmmaker”.

In June 1970, Jacqueline Susann tried to have the publication of the film prohibited by a court, because she did not see Beyond the Valley of the Dolls clearly enough separated from her own work and feared for its reputation. Your lawsuit failed. Shortly before the film was released, Meyer married Edy Williams, who played Ashley. Meyer's third marriage lasted until 1975.

reception

Publication and contemporary criticism

Beyond the Valley of the Dolls premiered on June 17, 1970 at the Panatges Theater in Hollywood. To accompany the start of the film, Playboy published a nine-page color story about the film and the actresses in its July 1970 issue. Despite initial problems with censorship in Maryland , New Jersey, and Utah , Beyond the Valley of the Dolls hit theaters nationwide. The film became an instant hit and was already number 1 on the variety charts in the week of July 29th .

The criticism was negative to devastating about Meyer's film. The Austin American wrote on July 21, 1970 that Beyond the Valley of the Dolls was "a mess, a disaster, a stinker, the most hideous of all hideous films." Terry Kay linked his judgment in the Atlanta Journal on July 14, 1970 , that Meyer's work was "a vulgar, tasteless and completely repulsive film" with calls for censorship. Stanley Kauffman judged in The New Republic that Beyond the Valley of the Dolls was “utter filth” that vacillated “between garbage and profanity”. Variety noted that the film was "as funny as an orphanage on fire"; The National Observer concluded that he was "as erotic as a dose of saltpeter".

Differentiated expressed few critics, such as Paul D. Zimmermann, who in the July 6, 1970 Newsweek the film as "the most elaborate masturbation fantasy since Hugh Hefner began his topless - hedonism to market" described, but at the same Meyer Puritanism accused , because he had consistently refrained from depicting frontal nudity. Vincent Canby recognized the qualities of the film as a parody on June 27, 1970 in the New York Times , praised some funny passages and regretted that Meyer had cut back the depictions of nudity compared to his earlier films.

Critical praise for the film was very rare: Hank Arlecchino, for example, described the film in Screw on July 13, 1970 as a "brilliant and incredibly funny parody of the exploitation film".

Beyond the Valley of the Dolls was dubbed in 1970 at Berliner Synchron GmbH under the title Flowers without Scent . Gerhard Vorkamp was responsible for the dubbing ; Dietmar Behnke directed the dubbing . The film opened in German cinemas on December 11, 1970. The negative reviews also predominated in the German-language press. For example, on January 4, 1971, Der Spiegel judged the film that the “cramped work” was neither “a satire on sex wave and film” nor “a document of a bourgeois subculture like the earlier Meyer films”, but rather “the calling card of a Hollywood establishment that has hit it off ”.

Aftermath

Beyond the Valley of the Dolls grossed more than $ 5 million in its first year; in January 1979 it was $ 6.8 million. In 1975 Irving Mansfield , the widower of the late Jacqueline Susann, filed a lawsuit against Fox. He demanded two million dollars in damages because, in his opinion, Beyond the Valley of the Dolls was not clearly delimited from Susann's work and thus damaged her reputation. Fox and Mansfield reached an out-of-court settlement that resulted in the studio paying the plaintiff a sum of $ 1,425,000.

Frasier says, looking back on the history of Beyond the Valley of the Dolls' release, "20 years later, it is difficult to understand why Beyond the Valley of the Dolls caused such an uproar, even when you factor in the circumstances." The film was - beside Myra Breckinridge - Man or Woman? , also a Fox production - one of the first films from a major studio to receive the X rating. With great public sympathy, these films marked the transition to a more revealing approach to “adult issues” such as sex and violence in films, as a result of which hardcore pornography was also shown in cinemas - a development that Meyer was always opposed to.

Over the years, the film has gained steadfast following , and its iconic character has occasionally been referenced, for example in Paul Mazursky's Willie & Phil , in which the protagonists watch Beyond the Valley of the Dolls in theaters on an LSD trip . Mike Myers indicates Beyond the Valley of the Dolls is one of his biggest inspirations for his Austin Powers series have been. For a long time, Fox hesitated to market the film again, and did not release it on video , for example . Only after a successful re-release in the cinema in 2003 was the release of a richly featured DVD of the film, first for the US and then also for the European market.

Russ Meyer thought the film was his best work. He was referring to Beyond the Valley of the Dolls when he declared in 1977: “The ultimate Meyer film has already been shot.” ​​Meyer gets support from John Waters , the Beyond the Valley of the Dolls behind his favorite film Faster, Pussycat! Kill! Kill! and calls it "the funniest film ever made".

Film analysis

Staging

Visual style

Frasier states that the content of the film is largely influenced by Ebert, while the visual style is "pure Meyer", "which is particularly clear in the montage sequence [...] which presents the opposing virtues and vices of Hollywood". This fast-paced montage of cityscapes, flash-like presentations of urban life and bare female breasts is rated by Bev Zalcock as a “sequence of associative image cuts and experimental camera work”.

In addition to such experimental appearing sprinkles, Meyer tried to give the film the highest possible quality, polished to a high gloss. Stu Philips comments on the high-key style of the film, Meyer set the lighting in every scene as “as if there were 89 searchlights ”, which gave the film a look “like in a comic strip ”. Ebert, to whom Frasier attests an “almost encyclopedic knowledge of cinematic clichés”, shaped the film through visual ideas: Already in the script he stipulated that the scene in which the camera discovers the suicidal Harris in the entablature of the studio as Homage to the opera house sequence in Citizen Kane should be filmed. Instead of a long tracking shot, a zoom was used for cost reasons .

dramaturgy

Nick Yanni certified Meyer in his criticism in the Motion Picture Herald of July 15, 1970 regarding the dramaturgy of the film a "mallet approach". Meyer plunged "at breakneck pace into the action, quickly and eclectically cutting back and forth between the scenes, with no discernible narrative intention". Ebert analyzes that Meyer's renunciation of classical narrative forms is due to his artistic attitude, that his mental attitude has “less to do with Hugh Hefner than with the Surrealists . Improbability was not an obstacle, continuity was not a must. "

Meyer's dramaturgical peculiarities become particularly clear at the end of the film: the act of violence in Z-Man's house is followed by a moralizing monologue as a voice-over to idyllic images that warns of the dangers of modern life for young people. The film is then concluded by the triple wedding in a sweet staging reminiscent of the musical films of the 1940s and 1950s. Zanuck was unsure whether such a triple-staggered ending would work. In a letter dated February 9, 1970, Meyer defended his staging to Zanuck and emphasized that the film “needs both the 'moralistic' montage and the triple wedding. The assembly will serve as a necessary 'buffer zone' between the bloodbath and the exaggerated end of the camp ”. For Danny Peary, the over-the-top ending of the film is a sign that Meyer only noticed during the making of the film how bad it was and could only save himself in extreme exaggerations. For Peary, Beyond the Valley of the Dolls signals “the decline of Meyers” and shows “that his talent has been overrated”.

music

Against Fox's will, Meyer prevailed to work with his long-time collaborators Stu Phillips , Bill Loose and Igo Kantor on the music in the film . The songs from their pen were sung for the film by rock singer Lynn Carey (lead singer of the rock group Mama Lion) and Barbara "Sandi" Robison (lead singer of the group The Peanut Butter Conspiracy , whose previous band name was The Ashes ), who also took part in collaborated on the songs. On the soundtrack album, which was released at the same time as the film, the singer Ami Rushes can be heard as the lead voice for contractual reasons .

The song "Once I Had A Love" was released on the CD "Beyond The Valley Of The Dolls / Groupie Girl" (original film music - Label: Screen Gold Records - SGLDCD00010). The songs on the LP from 1970 were used for this. This CD does not contain the original film versions, only the new recordings for the 1970 LP with four songs sung by Ami Rushes and two songs sung entirely by Barbara "Sandi" Robison. Due to contractual reasons, Lynn Carey was not allowed to sing along with the LP recording, although she co-composed and wrote some of the songs and did the vocal parts for the film versions, together with Barbara "Sandi" Robison. So they can be heard in the film, but Ami Rushes sang some of the songs on the 1970 LP.

But on the CD "Beyond the Valley of the Dolls" from 2003/4, there are the original film versions, with Lynn Carey and Barbara "Sandi" Robison as a bonus track. Released by the Soundtrack Classics label - SCL 1408 and Harkit Records - HRKCD 8032. The content of the songs is the same on both CDs. Both labels also released vinyl editions with different covers and extended songs compared to the 1970 LP. For the first time, all original versions of movie songs are included, with the original versions being sung by Lynn Carey and Barbara Robison.

On the CD, from the labels: Soundtrack Classics - SCL 1408 and Harkit Records - HRKCD 8032, the song "Once I Had Love", which is mentioned in the credits, but cannot be heard in the film itself, is missing. So this was only released on the 1970 LP and various reprints, on vinyl and so far only on the CD "Beyond The Valley Of The Dolls / Groupie Girl".

The six original songs by Lynn Carey and Barbara Robison are called: "Find it", "In the Long Run", "Sweet Talkin 'Candyman", "Come with the Gentle People", "Look On Up At the Bottom." "And" Once I Had Love ".

Themes and motifs

sexuality

Meyer also presented women and their sexuality in Beyond the Valley of the Dolls "larger than life" and " enlarged to almost Wagnerian extremes," as McDonough notes. Meyer never tired of emphasizing that screenwriter Ebert also shares his preference for voluminous women with large breasts . Meyer explained in 1979: “[Ebert] is more into breasts than I could ever imagine. [...] He's absolutely obsessed with it ”.

In the representation of sexuality, Meyer follows, according to Frasier, a “strict moral code”. Frasier explains that consensual sex between men and women always has positive connotations and is "the central component in [Meyer's] universe" that guarantees its harmony. However, anyone who crosses the boundaries of “good” heterosexuality in the film is breaking Meyer's moral laws and will be punished. This is how the lesbian seductress Roxanne must ultimately die. Ebert, however, praises the way in which Meyer staged the lesbian love scene in Beyond the Valley of the Dolls and states that he feels this (along with a comparable scene in Vixen! ) As the only really erotic work in all of Meyer's work.

Meyer's moral conventions are even more noticeable in the representation of male homosexuality . Before it is clarified that Z-Man is actually a woman, his desire for Lance appears to the viewer as being homosexually motivated; he finds his “punishment” for this in the violent ending of the film. Ebert explains that the decision to ultimately turn Z-Man into a woman was a device by Meyer and Ebert to avoid having to depict the purely sexual relationship between two men. Such a theming seemed too daring for a mainstream Hollywood film.

violence

The combination of sex and violence in Beyond the Valley of the Dolls is from the first scene (a flashforward much as Anreisser to the plot) to where the drowsy Roxanne on the gun barrel, which is inserted into her mouth, fellatio simulated. Meyer takes up the mood of the end of the hippie era , in which disillusionment was paired with emerging violence: At the Rolling Stones' Altamont concert in December 1969, a visitor died in a knife fight. On August 9, members of the Manson Family murdered five people, including pregnant Sharon Tate , one of the leading actresses in The Valley of the Dolls . These events dominated the headlines for weeks, so that Meyer processed them artistically in Beyond the Valley of the Dolls - according to McDonough "a cross between Charles Manson and Jacqueline Susann".

Meyer also went back to his own experiences with violent situations, for example in the figure of Z-Man's German servant Otto. The film suggests that it could be Martin Bormann , who fled to the USA , one of the most enduring enemy images of World War II veteran Meyer. Henry Rowland, who played this role, repeated it in two other Meyer films.

The violent end of the film marginalize the previously shown, hippie-like world of experience and give the film a "diabolical" quality, says McDonough. Beyond the Valley of the Dolls is “a truly nihilistic film, absolutely cynical about humanity” and thus “challengingly empty, a glittering, shiny nothing in a golden frame”.

Satire and parody

Frasier notes, "Meyer's period of parody and satire began when he signed with Fox in 1969 to direct Beyond the Valley of the Dolls". Meyer often exaggerated the themes and motifs known from his earlier films into the absurd for the first time, for example in the orgiastic party scenes and in the depictions of violence. Roger Ebert confirms: “[Meyer] made it very clear that the key word was 'beyond'. Dolls was supposed to be a satire on an exploitation film in which a major attack was to be launched on that very genre ”. In order to make this effect fully effective, Meyer left his actors in the dark about the satirical character of the work, as Frasier and McDonough note. Only Lazar and Blodgett understood Meyer's intentions from the start.

In addition to the parodic exploitation of filmic predecessors (Ebert sees the scenes in a photo studio as a direct reference to Blow Up ), real people served as biographical blueprints of the exaggerated film characters. The pop music producer Phil Spector can be seen as a role model for the character of Z-Man; the boxer Randy Black wears the features of Muhammad Ali . Meyer carries these parodying adoptions from popular cultural reality down to a meta level when he underlines the decapitation of Lance with the famous audio logo of the Fox fanfare in the film .

Elements of the soap opera

Meyer used the mechanisms of the soap opera in his figure drawing and plot management . Fateful, sometimes absurd twists and turns - such as the spinal cord injury and later spontaneous healing of Harris - arouse the interest of the viewer, only to return to a status quo in the end. Meyer told Image magazine that Beyond the Valley of the Dolls was “a big, crude camp film about the lives of young people today. We put our characters in all kinds of exaggerated situations: adultery, rape, murder, infidelity, jealousy, and suicide. The characters are flamboyant types, drawn entirely in black and white. Then, in the true tradition of the soap opera, we let them rise again, these fallen angels, and put them back on their pedestals. "

Ebert also confirms that these elements were part of a strategy to address an audience of young adults under 30 years of age and describes the desired mixture as follows: “There had to be music, mod clothes, colored protagonists, violence, romantic love, soap opera situations, intrigues in the back room, fantastic locations, lesbians, orgies and (possibly) an ending that brings everything together. "

literature

  • Jami Bernard (Ed.): The X List: The National Society of Film Critics' Guide to the Movies That Turn Us On. Da Capo Press, Cambridge 2005, ISBN 978-0-306-81445-7 .
  • David K. Frasier: Russ Meyer - The Life and Films. McFarland & Company Inc., Jefferson / London 1990, ISBN 0-7864-0472-8 .
  • Jimmy McDonough: Big Bosoms and Square Jaws - The Biography of Russ Meyer, King of the Sex Film. Crown Publishers, New York 2005, ISBN 1-4000-5044-8 .
  • Rolf Thissen : Russ Meyer - The King of Sex Films. 2nd edition, Wilhelm Heyne, Munich 1985, ISBN 3-453-09407-7 .
  • Paul A. Woods (Ed.): The Very Breast of Russ Meyer. Plexus Publishing London 2004, ISBN 0-85965-309-9 .

Web links

References and comments

  1. ↑ fsk.de/blumenohneduft , Voluntary Self-Control of the Film Industry . Retrieved July 13, 2014.
  2. ↑ quoted in: McDonough, p. 254.
  3. ↑ Thissen , p. 168.
  4. ↑ Thissen, p. 169.
  5. ↑ a b Thissen, p. 170.
  6. ↑ a b c Frasier, p. 15.
  7. ^ McDonough, p. 255.
  8. ↑ a b Frasier, p. 127.
  9. ↑ a b Thissen, p. 172.
  10. ↑ a b Thissen, p. 178.
  11. ↑ Frasier, p. 126.
  12. ↑ a b c McDonough, p. 260.
  13. ↑ a b McDonough, p. 262.
  14. ↑ a b McDonough, p. 270.
  15. ↑ Frasier, p. 130.
  16. ↑ Meyer had shot many scenes in the film in sexually explicit versions. Even after the X-rating was given, Fox was not ready to re-cut the film and use these scenes. The studio wanted to bring the film to the market straight away. Roger Ebert: Beyond the Valley of the Dolls. In: Bernard, p. 43.
  17. ↑ a b c Thissen, p. 176.
  18. ↑ McDonough, p. 271.
  19. ↑ a b Frasier, p. 131.
  20. ↑ Thissen, p. 54.
  21. ↑ Strawberry Alarm Clock also made an appearance in the program at the premiere . Frasier, p. 129.
  22. ↑ Frasier, p. 133.
  23. ↑ quoted in: Thissen, p. 178.
  24. ↑ quoted in: Frasier, p. 137.
  25. ↑ a b quoted in: McDonough, p. 272.
  26. ↑ quoted in: Frasier, p. 135.
  27. ↑ quoted in: Frasier, p. 140.
  28. ^ Critique by Vincent Canby in the New York Times .
  29. ↑ quoted in: Frasier, p. 134.
  30. ↑ Flowers without fragrance at Synchrondatenbank.de .
  31. ↑ Hollywood's abdomen . In: Der Spiegel . No. 1 , 1971 ( online ).
  32. ↑ Among other things, Mansfield cited the justification that Beyond the Valley of the Dolls had often been marketed as a double feature together with The Valley of the Dolls .
  33. ↑ a b Frasier, p. 16.
  34. ^ Roger Ebert: Beyond the Valley of the Dolls . In: Bernard, p. 43.
  35. ↑ a b McDonough, p. 274.
  36. ↑ quoted in: Frasier, p. 171.
  37. ↑ John Waters: Russ Meyer: Master . In: Woods, p. 45.
  38. ↑ Bev Zalcock: Spies in the House of Love - Films that break with gender codes . In: Carla Despineux / Verena Mund (eds.): Girls, Gangs, Guns - Between exploitation cinema and underground. Schüren Verlag Marburg 2000, ISBN 3-89472-323-8 . P. 113.
  39. ↑ quoted in: McDonough, p. 259.
  40. ^ A b c Roger Ebert: Russ Meyer - King of the Nudies. In: Woods: The Very Breast of Russ Meyer. P. 90.
  41. ↑ Nick Yanni: Beyond the Valley of the Dolls . In: Woods, p. 72.
  42. ^ Rogert Ebert: Beyond the Valley of the Dolls. In: Bernard, p. 43.
  43. ↑ quoted in: Thissen, p. 176.
  44. ^ Danny Peary : Beyond the Valley of the Dolls. In: Cult Movies. Delta Books, 1981, ISBN 0-517-20185-2 , p. 24 ff.
  45. ↑ McDonough, p. 10.
  46. ↑ quoted in: McDonough, p. 252.
  47. ↑ Frasier, p. 22.
  48. ^ Roger Ebert: Beyond the Valley of the Dolls . In: Bernard, p. 44.
  49. ↑ McDonough, p. 267.
  50. ↑ Woods, p. 7.
  51. ↑ McDonough, p. 261.
  52. ↑ McDonough, p. 272.
  53. ↑ quoted in: McDonough, p. 256.
  54. ↑ McDonough, p. 258.
  55. ↑ quoted in: Thissen, p. 178.
  56. ^ Roger Ebert: Russ Meyer - King of the Nudies. In: Woods: The Very Breast of Russ Meyer. P. 89.
This version was added to the list of articles worth reading on June 10, 2008 .