Some describe Valley of the Dolls as a work of cheap art, a “dirty soap opera” or a modern, contemporary melodrama stocked with cliches and contraband stereotypes, limiting the viewer’s capacity to appreciate quality, pure gold cinema. Others view it as a feminist, women-will-rule-the-world-one-day pioneer and groundbreaking piece of work, giving voice to a population of drug-fettered women who are often ignored, shunned, and deemed too incapable to live a life of quality and self-made/self-earned excellence. Yes, Valley of the Dolls is that rare feature for me that qualifies itself as both a work of trash and a work of class, with a consistent sprinkle of brilliance, or drug-induced mania, throughout -- always a certain recipe for any iconic, cult classic. And to go a little bit deeper, the work itself is as much a piece of feminist lore as it is an outstanding, distinct rebellion against traditional cinema.
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