MYTHICITY: *poor*
FRYEAN MYTHOS: *comedy*
CAMPBELLIAN FUNCTION: *psychological*
The only real significance of FLY ME is that it's among the first exploitation films directed by Filipino filmmaker Cirio H. Santiago that was apparently filmed in English and thus marketed in English-language markets. Though FLY attempted to play off earlier sex-flicks about swinging stewardesses, very little of the film concerns the three girls' duties-- or infractions-- on their planes.
Since I spotlighted the names of the actresses playing the three girls above, I'm not going to bother typing the character-names as I lay out each of their plot-threads. The one that gets the most attention is Pat Anderson's, in which she tries to get it on with a handsome doctor but keeps getting ****-blocked by her conservative nother. Then there's a plot about Lillah Torena getting herself and her friends involved with a white slavery ring. Lastly, the only plot that has much potential is the one that doesn't track at all: that Lenore Kasdorf has some evil kung-fu people after her, for no reason ever brought forth. Kasdorf, though not the world's worst fake-fighter, has to amateurishly fend off three separate kung-fu killers, as well as getting wounded by a dart from a fourth enemy. Oh, and the enemy is apparently posing as a blind guy with a cane, and he shoots the dart from his cane-- which is the only thing that makes FLY a metaphenomenal film.
Though FLY does end with a big fight between the white slavers and some good law agents (I think), the three stews don't participate in that fight, not even the semi-skilled Kasdorf. Therefore this one can stay off my list of combative films within any phenomenality. Oh, and one other minor significance is that FLY ME would also be the first English-language flick with a kung-fu femme by the director of such later works as SILK 2, THE SISTERHOOD, and TNT JACKSON and its two remakes.
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