Mudhoney - Movie Reviews - Rotten Tomatoes

Mudhoney Reviews

Page 1 of 3
November 16, 2015
not one of russ meyer's best efforts
March 11, 2014
This is not a typical Russ Myer's sex farce. There's some nudity and simulated rape. There's an actual story in this movie. It's centered around a counry madame with two daughters with low cut dresses and is said to brew moonshine wiskey. A drifter comes across the women and who send him to a local farm with an abusive husband and a sick old man and his niece who is married to the abusive husband. The bad guy spends more time partying with the women and drinking the moonshine than he spends at home. It was made in the mid 1960's before the current rating system was adopted. It's in black and white because color was expensive in the 1960's and this is a very low budget movie. The story is set in the early 1930's during the depression and the end of the prohibition era. It's a rual setting and is filmed in old abandoned farm houses. In the 1960's there were still a lot of old abandoned houses in the rual parts of the country that had been abandoned in the 1930's through 1950's. The actors are Russ Myer's stock players. The strange part of the movie is Myer's take on religion. The preacher charater is a true holy roller that may have been in place in the 1800's but is not a 20th century minister. He's dressed in 19th century clothes and talks a lot of jibberish in a 19th century style but he never actually quotes any Bible verses. Myer's liked to use religious charaters to turn his movies into morality plays. That's after he has his evil character's engage in all sorts of deviant behavior. In this case he has the bad guy abuse his wife and then has him rape and murder the preacher's sister. He then kills the off the deviant charaters at the end of the movie, in this case the rapist/murderer is hung by a lynch mob and the crazy preacher who leads the lynch mob is shot by the town sheriff.
½ January 22, 2014
While not quite on the level of Faster, Pussycat! Kill! Kill! or Vixen, Mudhoney is still one of Meyer's strongest films. It is also a fairly decent introduction to the man's work, though unlike his most famous films this one is more of a drama. That's not to say there's no humor here though. The plot is straight out of Tennessee Williams, but it's the film's style that once again sets it apart. Meyer was an assured photographer and a genius editor, and both talents come to bear here. The use of caricature to make a satirical point about mob mentality is surprisingly timely even today. The sweaty, grimy, unpleasant characters cackle and wheeze in obsessive close-up as Meyer reveals a gift for the grotesque to rival Fellini or Bu˝uel. This is one of the grimmest of Meyer's 60s films, but of course there are plenty of knockers on display. Well-cast, nicely shot, beautifully edited, and tightly written, Mudhoney is a strong piece of sleazy entertainment.
May 9, 2012
Finally a movie by Russ Meyer, with little bit of dramatic scenes, little bit of nudity (this time). Simply outstanding close-up shots of objects, making the movie look simply adorable to watch.
April 7, 2012
Although I still really like it I find Mudhoney the least of Russ Meyer's trilogy of black & white (Im not counting Lorena). It's one of those movies where Meyer philosophies that people are more interesting if they're yelling @ one anyone. I won't deny that rashion of thinking but when you compare it to the likes of Motorpsycho & especially Faster Pussycat Kill Kill it comes up about a yard. It has some moments. Seeing more of Stuart Lancaster he's becoming a favorite of mine but this just doesn't have that cult edge even though all the elements are there. Meyer's in one of my favorite directors (especially when you think about independent film making) but here he is still cutting his teeth on his masterpieces still to come. A fuck of a lot better then what 99% of the market had to offer but if you compare it to some of Meyer's true greats it falls short
March 14, 2012
Exceptionally well-made for an exploitation feature.
June 4, 2011
Between 'Lorna (Meyer, 1964)' and this offering, Russ Meyer directed one other film - 'Fanny Hill (Meyer, 1964)'. Currently unavailable on DVD, it has been reported that this is one of the few finished products that Meyer was unhappy with and sought to fight any further release. After the success of 'Lorna' Meyer was keen to capitalise on his target audience, and recast Lorna Maitland in another story about love, lust and violence. Once again religion seeps through the story, and by the time the closing credits roll it is apparent Meyer is trying adamantly to make a point. This is essentially a drama wrapped up in a sexploitation - the large breasts serving to distract only the most determined one-armed viewers from a considerably decent story.

'Mudhoney (Meyer, 1965)' is based upon a novel penned by Raymond Friday Locke titled "Streets Paved With Gold". Set in depression-era 1933 amidst the small gossiping town of Spooner, Missouri, where the prohibition is looked upon without much concern enters Calif McKinney (John Furlong). He's on his way to California, but is in need of cash. Luckily for Calif, Lute Wade (a fantastic Stuart Lancaster) is in search of a farm hand, and it just so happens Lute's daughter, Hannah (Antoinette Cristiani) is a striking blonde bomb-shell. There's just one small problem.

She's married to Sidney Brenshaw (Hal Hopper, once again playing an utterly detestable villain), and he's just counting down the days until Lute's bum ticker gives up the game and he can sell the farm for a large amount of money. The main focus of the story centres around these four characters, and unlike the wife in 'Lorna', Hannah takes her marital vows rather seriously, despite the fact her husband is abusive.

Yet there's a storm brewing in Spooner, for the folk of this small town are prone to talk and are easily swayed by the ramblings of Brother Hansen (Frank Bolger). To exacerbate an already tense situation further, Sidney frequents a brothel run by the toothless hag Maggie Marie (Princess Livingston, previously spotted in 'Wild Gals of the Naked West (Meyer, 1962)' rather briefly) - a character that quickly turns from humorous to irksome. Her two daughters are the remarkably cute but deaf mute Eula (Rena Horten) and the top-heavy Clara Belle (Lorna Maitland) who appear at regular intervals to inject a little bit of spice into the proceedings.

Meyer's competent presence can be felt throughout this film, and it is clear that here is a director entering his stride. Misplaced comedy aside, this is an interesting story with a scathing attack on the Bible-wielding mindless masses - a message that may come as a surprise after 'Lorna'. Unfortunately the pacing slackens during the middle, and the nudity and sex offered feel a little shoehorned in to appeal to Meyer's regular audience.

But Meyer manages to reign it all together during the last moments, as events build to a thrilling climax. While the acting isn't great from the female cast members (and, let's be honest, it's not for their acting skills they were hired) the men of the film manage to root the story with a humanity that doesn't feel out of place. Thankfully, the characters are a little more complex than those found in 'Lorna', which allows some interesting issues to arise.

Despite this, 'Mudhoney' is distinctly lacking in something 'Lorna' had in abundance - clarity. The story makes some puzzling departures, and could easily have been trimmed in several places. While it is in no way as dire as 'Eve and the Handyman (Meyer, 1961)', Meyer himself considers the film as something of a failure due to a poor turnout. But he wasn't quite ready to abandon his roughies just yet.
Super Reviewer
February 6, 2011
Being a Russ Meyer movie, Mudhoney full of extreme, over-the-top characters and craziness. And big boobs. As easy as it is to dismiss this movie as a sleazy excuse to see stacked women naked, there actually is a story lurking around. Sure, you've probably heard it before dozens of times but still. The finale is pretty great and even if Meyer didn't include the obvious... assets, Mudhoney would still make a great B-movie.
January 15, 2011
A bit weird, but not too bad.
Super Reviewer
½ November 24, 2010
This is Russ at his sleazy best. Here's a list: Domestic rape/abuse, a deaf/mute prostitute, big tits, a toothless hag with an insane laugh, big tits, backwoods rednecks, mob mentality, big tits, a crazy preacher, and big tits. Apparently, to Russ Meyer, P.C. stands for Plenty of Cleavage. This is my favorite Russ Meyer movie. It starts out with a bang and things just get more and more depraved as it goes along. If you're looking for some raunchy fun (and I know you are) then it doesn't get much better than this.
February 21, 2010
The cinema as a tit-delivery system.
½ December 6, 2009
Probably one of the most disturbing but halarious films I have seen in a long time. Now I understand how John Waters became John Waters.
November 7, 2009
Another Russ Meyer film during his black and white period is actually one of his best. Unlike his later color films this picture does not dwell on the presence of a bunch of busty women running around. Don't get me wrong Mudhoney still serves up enough breasts to keep any Meyer fan happy but the plot really works and the acting is fast and crazy but fits the film perfect.
September 20, 2009
While it's not as good as Beyond the Valley of the Dolls, it's stilla good sleazy tale from Russ Meyer. Surprisingly, there aren't any raven-haired, big breasted babes here, they're all blonde. I suppose this is where the band Mudhoney took their name.
½ September 19, 2009
It's sometimes strange where you'll find touches of virtuoso filmmaking, and no one illustrates that better than sleaze maven Russ Meyer. Meyer is right in his element with this overheated Souther melodrama complete with outrageous characters, cackling rednecks, and heaving bosoms. Definitely not for all tastes - there is an overabundance of obnoxious laughter - but cult movie fans who appreciate Meyer's over-the-top style will find a lot to appreciate here.
September 19, 2009
I have seen films so sleazy that I ought to bathe and wash myself of the experience afterwards. You'd think it would be the same from the supposed king of sexploitation, Russ Meyer. Nope. I actually found this to be a very interesting watch and leaves you much to think about, believe it or not. I've only seen one other Russ Meyer film thus far - FASTER, PUSSYCAT! KILL! KILL!, which I liked a lot. I'm thinking I like MUDHONEY a bit more.

I played part of it over after watching it - but turned the sound to mute just so I could concentrate solely on the visuals. (I turned off the sound because a couple of the characters are played a bit over the top which may turn some viewers off). Technically, it's a very well done film. Nicely photographed and edited. For the opening shots you only see the feet of the main character. In fact, 3 of the characters are introduced in this way - by first showing their feet.

The story takes place during the Great Depression. A drifter, Calif McKinney (John Furlong) stops by a dusty midwest town called Spooner. He is making his way to California (his mother named him after the state) but is short of funds. He is told that a nearby farm is in need of a farmhand so he stops by to inquire about the position.

At the farm, Calif meets owner Lute Wade (Stuart Lancaster) and his daughter, Hannah (Antoinette Christiani). Lute at first balks at hiring Calif because he is afraid that there might be problems with Hannah's husband, Sidney Brenshaw (Hal Hopper) - a sadistically ill-tempered drunkard who fought and seriously injured the previous farmhand. Hannah is the one who actually hires Calif because she knows Lute is in poor health and they desperately need the help.

Lute's son-in-law, Sidney Brenshaw doesn't seem to do anything around the farm except drink and occasionally beat his wife Hannah and force himself on her. Sidney boasts about inheriting and selling the farm after Lute dies. One day, Calif overhears one of their arguments and intercedes on Hannah's behalf. This makes Sidney very suspicious about Calif and Hannah having a relationship behind his back. Sidney's suspicions are well-grounded because Calif is very much attracted to Hannah.

When Sidney is not harassing Hannah or Calif - he spends his time at the nearby whorehouse run by a cackling, toothless woman, Maggie Marie (Princess Livingston) who adds much comic relief to the film. The two whores are Maggie's very own daughters, Clara Belle (Lorna Maitland) and Eula (Rena Horton). Two very buxom beauties in the Russ Meyer tradition. Eula happens to also be a deaf mute.

Adding to the dynamics of the Sidney/Hannah/Calif triangle is the fire & brimstone preacher, Brother Hansen (Frank Bolger) and his devout (and buxom) wife Sister Hansen (Lee Ballard). Plus an assortment of weird-looking characters sprinkled throughout.

But the one character that really stands out is Eula, the deaf mute. It's funny how she can be the embodiment of sexuality and yet exude an air of pure innocence. I don't recall ever seeing such a character like her. When the story reaches the point when madness and mob-violence seems to run rampant - it is Eula who gives hope for humanity.

This film is crazy & brilliant all at once
8.5 for now...
September 19, 2009
have not seen it yet, the trailer looks interesting
½ September 18, 2009
One of the Mid 60's Exploitation Movies from Russ Meyer in the Style of Faster Pussycat Kill Kill it's about a Evil Man who can't have Joy and let it out on everyone else mainly on Women
July 20, 2009
Though it's over the top, its treatment of themes came way way before its time. Visionary. Tarantino certainly knows this pic.
Page 1 of 3