Feb 6, 2020
Myra Breckinridge (1970) (part 1 of 12)
The Cast of Characters:
Myra Breckinridge (Raquel Welch). Haughty, movie-obsessed acting teacher who arrives in Hollywood in order to bring about (get this) “the destruction of the last vestigial traces of traditional manhood”. And, oh yeah, almost forgot. She used to be a “he”.
Myron Breckinridge (Rex Reed). This is Myra before the sex change. The resemblance is stunning, no? Cranky, petulant, and easily dismissive of things he doesn’t understand, Myron will come to remind us of a certain semi-famous movie critic.
Buck Loner (John Huston). Myra/Myron’s uncle. A washed-up star of old-time Westerns who currently owns and operates an acting school in Los Angeles. Sickeningly, he spends nearly the entire film naked on a massage table.
Leticia Van Allen (Mae West). Just what audiences were craving: An oversexed, septuagenarian talent agent who sleeps with all her clients. Her only purpose in this movie is to toss out smutty one-liners and perform the worst musical number in the history of sound.
Rusty Godowski (Roger Herren). A student at Buck’s acting school. Myra falls madly in lust with him, and (much like this movie did to audiences) she bends him over, straps one on, and gives it to him right in the ass.
Mary Ann Pringle (Farrah Fawcett). Rusty’s girlfriend. After Myra forcibly sodomizes Rusty, she turns her attention to seducing Mary Ann. Don’t get too excited at the prospect of REAL LIFE LADY LOVERS, however, because it’s all mostly implied.
Back in the late 1960’s, the success of the counter-culture movement in film stunned the Hollywood establishment. Films like Easy Rider and Midnight Cowboy (which were light on conventional plots, but heavy on non-linear storytelling and stylistic experimentation) had execs at the big studios scratching their heads. Very few of them understood this new type of picture, but one thing was clear: Young people were spending money to see it. So, as per its nature, Hollywood did its very best to cash in.
What followed was a string of films that, in retrospect, look completely foolish. Almost as if they had come down from a great high, major studios would immediately come to regret releasing pretentious junk and repulsive comedies like Candy, The Happening, The Big Cube, Wild In The Streets, The Last Movie, R.P.M., The Strawberry Statement, The Harrad Experiment, and future Agony Booth target Skidoo.
And, of course, Myra Breckinridge.