“We’re Jezebels, cop — remember that name. We’ll be back!”

Justin’s rating: So much chest hair. So much.

Justin’s review: Well thank goodness I managed to escape my four years of the ’70s with my cherubic hide intact, especially considering that the nation was overrun with thematic gangs and seeing garbage strikes stinking up the joint. After watching Jack Hill’s Switchblade Sisters, I conclude that I probably died back then. I think we all did.

In this exploitation flick, we meet the “Dagger Debs,” a female gang that’s terrorizing the city with their attitude and snappy switchblades. During a mass arrest at a hamburger stand, a sassy girl named Maggie gets caught up with the group and gradually gains their respect as a prospective member.

Cue a lot of drama both within and outside of the Dagger Debs, where every scene is a fight, argument, or catty posturing. When a rival gang is transferred to their school, the Debs and their male counterpart gang (the Silver Daggers) try to assert dominance. Maggie starts rising in the ranks of the gang and also has to deal with drawing the eye of her leader’s boyfriend, who’s an absolute raging jerk. Of course, who isn’t in this film?

Switchblade Sisters got a huge patron in Quentin Tarantino, who’s such a fan of this flick that he re-released it under his label in the ’90s. You can see elements of this film in some of his own exploitation-slanted works, because there’s nothing original about that guy. Sorry, but that’s the truth and we all know it.

It’s weird to run a cult movie review site and avoid certain big pockets of cult film, such as exploitation, but I’ve never felt comfortable with these kinds of films. They’re just mean, you know? Kind of like those old trashy comic books that thrive on shock value. But when I do dip into the occasional movie in this area, I do so with a view to understand the attraction others have to it.

Maybe it’s because of the unreality of these kinds of films. Everyone has the impulse control of animals, so it’s all heightened emotions and fierce reactions. It feels like the filmmakers reveling in sleazy attitudes while peddling it to likeminded viewers. So if you like it, what does that make you? I dunno, maybe nothing. But sometimes I walk away from movies like this feeling a little scummy for having watched it, and I don’t like that.

To be fair, it’s also hard to take any of this too seriously when characters are played so over-the-top and situations escalate so quick and crazy. Switchblade Sisters also is a veritable fashion show of ’70s coolness, with berets and eyepatches and butterfly collars. You could even argue, as the director did, that this is a retelling of Shakespeare’s Othello in a messed-up way.

Maybe this serves as a kind of litmus test. If you revel in the absurdity and excess and posturing, you might be well-suited for the exploitation lifestyle. If it pushes you away and has you tut-tutting, then you’re OK too — just not made for these kinds of movies and a viable candidate to join me in a marathon of both Cocoon movies.

Intermission!

• Apparently the repo industry had computers in the ’70s
• He got on the elevator ride with direct service to every female gang member in the world
• “Look here, I caught a piggie!”
• Maggie came prepared to that lunch with a metal whip-or-whatever
• Women’s prisons love giving swirlies
• This prison does not have good security
• “Yeah I am a bastard, ain’t I?”
• Harold loves to make his fart noises
• Bangs and a giant medallion are not a flattering look for a guy
• “Crabs” is an awful name for a guy. But then again, he’s got bangs.
• Dude, Maggie went right through a wall and made it look easy
• Giant yellow vans do not make for an inconspicuous driveby shooting and kidnapping