Word: vixens
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Dates: during 1960-1969
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...sexploitation" movies is no longer easily made. The screen's crassest byproduct, variations of the old stag film or skin flick, draw more customers in some cities than the hard-ticket Hollywood product. Ranging from 20 minutes of nudie shorts to the sophisticated voyeurism of Directors Russ Meyer (Vixen) and Radley Metzger (The Dirty Girls), sex films are now a multimillion-dollar-a-year industry. Exhibited in well-appointed cinemas that charge $3 and up for admission, they have moved from the tenderloin to midtown...
...latest movie. Vixen, is in the Meyer mold. Once again there is the rolling glandscape; once again, such complications as plot and acting are forbidden. In British Columbia, Canada, a bush pilot spends too much of his time on the wing. In his absence, his wife Vixen (Erica Gavin, 42-24-36) lives up to her name, deceiving him with everyone from a Royal Mountie to the wife of a visiting fisherman (Vincene Wallace, 37-24-35). A Mama Sutra of seductresses, Vixen is an ideal utility infielder, at home in any position. Audiences willing to endure lapses into good...
...question (Tom Bell) is more than just lean and good looking and a whiz at going up and down drainpipes. He suffers and feels for the sufferings of others: the lonely misery of a middle-aged slattern whose husband is doing time, the agony of a vixen caught in a trap. His girl (Judi Dench) is really no bird for a burglar. She is a slightly scruffy but sensitive young woman who is doing her best to raise a five-year-old illegitimate son by teaching art in the orphanage where she boards him and by selling encyclopedias...
George Washington's Vixen. Negroes who are dissatisfied with Ebony's moneymaking nonmilitancy need only turn to Johnson's money-losing Negro Digest-a strenuous voice of Black Power. Writing that is roughly eloquent mingles with writing that is just plain rough. "Every white throat cut is a success in itself," was one writer's contribution to racial amity. Digest was one of the first publications to take exception to The Confessions of Nat Turner on the ground that White Novelist William Styron was incapable of putting himself inside the skin of a 19th century Negro...
...Prancing. Last week in Manhattan, Resnik returned to what is by all odds the finest of her 77 roles, stepping into the title part of the Metropolitan Opera's new production of Carmen. Her Carmen is far from the flippant vixen so often projected by younger singers. "Carmen," she says, "is not a hip-swinging, tawdry, gutsy tart. I'll be damned if I'll prance around in the role." Instead, using dozens of shrewdly modulated gestures and inflections-a taunting yet soulful stare, a rippling laugh, an unexpectedly quiet and silken musical phrase-she builds...