Russ Meyer’s Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it.