SWITCHBLADE SISTERS
A film review by Michael Dequina
Copyright 1996 Michael Dequina
Switchblade Sisters (R) ***
In recent years, the exploitation film--cheap, sensationalist no-budget offerings filled with violence, sex, nudity, and horrific acting--have been relegated to direct-to-video status. The resurfacing of Jack Hill's 1975 Switchblade Sisters, reissued by Quentin Tarantino's Rolling Thunder division of Miramax, shows that this genre's true home is on the big screen, where its hilarious, immensely enjoyable camp charms can be shared with an audience.
The basic premise of Switchblade Sisters is a power struggle within the girl gang the Dagger Debs between leader Lace (Robbie Lee, whose squeaky Lori Petty voice and ferocious line delivery make an interesting contradiction) and newcomer Maggie (Joanne Nail). But to leave it at that would to discount the surprisingly inspired plotting by screenwriter F.X. Maier, who weaves a complex web of gang wars both between gangs and within them; in fact, one-eyed Dagger Deb Patch's (Monica Gayle) psychological manipulation of Lace more than recalls Iago's scheming in Othello. This is not so say, however, that the exploitation staples aren't in abundance, and they are: there are the requisite violent action scenes, including a rousing street gunfight, a roller rink shootout, and a killer closing knife fight; there more than a share of hilarious, quotable lines (my fave being "If you go, it's gonna turn out bad!"; and the acting is as uproariously over-the-top as can be imagined. The opening half hour, in which the Debs are arrested and spend time in jail with an abusive lesbian guard, is so hilarious, so trashy, and so utterly enjoyable that it truly must be seen to be believed.
Unlike recent howlfests such as Judge Dredd and, most notably, Showgirls, the filmmakers are very self-aware, knowing they are making fun trash. Director Hill keeps his tongue firmly in cheek, tossing in throwaway bits, such as a guy who suddenly drops his head onto a table, that show he's far from playing it with a straight face. The free rein he gives to his thespians is not a sloppy move, but a deliberate, defendable choice--the actors are, after all, playing histrionic teens (though the actresses look well into their 20s, the actors over 30). Camp sensibility aside, Hill is also an efficient filmmaker, keeping the action moving and telling the complicated story clearly and swiftly. Switchblade Sisters is rather short, but it certainly doesn't feel that way (but not necessarily slow) once it's over because so much was compacted into a mere 90 minutes. It is also important to note that while this is an "exploitation" film, Hill shows an unexpected restraint, leaving the most violent or "naughty" bits to the imagination. The fact that the film still satisfies as "exploitation" is another testament to Hill's skill.
A number of people won't understand the appeal of Switchblade Sisters, but those with a healthy appetite for fun, campy, exploitative trash are sure to get their money's worth.
Michael Dequina mrbrown@ucla.edu Visit Mr. Brown's Movie Site at http://members.tripod.com/~MrBrown/
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