Like most of cult director Russ Meyer's later films, his final ode to the superhuman bosom largely dispenses with plot in favor of episodic sexual sight-gags. The ostensible storyline, narrated by Stuart Lancaster in hilarious deadpan… More Like most of cult director Russ Meyer's later films, his final ode to the superhuman bosom largely dispenses with plot in favor of episodic sexual sight-gags. The ostensible storyline, narrated by Stuart Lancaster in hilarious deadpan style, deals with the bedroom hijinx of small-town America -- in this case the fictitious community of Rio Dio, Texas. Junkyard worker Lamar Shedd (Ken Kerr) is in trouble with his sexually ravenous wife Lavonia (Francesca "Kitten" Natividad) because he can only achieve satisfaction through unconventional openings. While Lavonia proceeds to bed down the local garbageman (Pat Wright) and others with more standard tastes, Lamar is put through a series of increasingly silly "cures," including a visit to a chainsaw-wielding gay dentist (Robert Pearson). Eventually, a radio faith-healer with enormous breasts (Anne Marie) gets him back on the right track. The amazing June Mack, who looks like she stepped straight out of a Robert Crumb cartoon, is the film's highlight as Kerr's insatiable black employer, Junk Yard Sal. The usual comic fight scenes are augmented here with different colors of blood for each character, but the high-voltage action of many earlier Meyer films is absent, as he was obviously trying to keep up with the booming porn market by including as many naughty close-ups as possible.