Bamboo House of Dolls
Shaw Brothers takes on the WIP film. As strange a combination as it sounds.
The most rigid formula in exploitation cinema, and the most durable.
You can set your watch by the structure: a wrongly convicted newcomer, a sadistic warden, a corrupt doctor, a shower, a solidarity plot, a riot, an escape.
Roger Corman built the modern version. The Big Doll House (1971) and The Big Bird Cage (1972), both shot in the Philippines by Jack Hill with Pam Grier, set the template and its budget. Filipino production was cheap, the jungle could stand in for anywhere, and a New World picture could turn a profit before it left the drive-in circuit.
It globalised immediately: Italy produced Women's Prison Massacre, Japan produced the Scorpion films, and America produced a long direct-to-video tail through the 1980s.
Not much, formally. What the good ones have, The Big Bird Cage and the Ito Scorpion films, is a willingness to make the guards the villains and let the prisoners win.
Shaw Brothers takes on the WIP film. As strange a combination as it sounds.
Ito's second, and the most formally daring film in the whole category.
Pam Grier as the sadist for once. Bleaker than its stablemates.
Ito's last. Kaji drags a severed arm through Tokyo in the opening minutes.
The film that invented nazisploitation six years before Ilsa made it a genre.
Funnier and better than the first. Sid Haig is having an excellent time.
Jess Franco's contribution to the cycle. Cheap, delirious and utterly shameless, even for him.
Linda Blair goes to prison. A sleazy 80s update of the formula, with a corrupt warden and a hot tub.
The women-in-prison film as its own punchline, fronted by the lead singer of the Plasmatics.
Jack Hill and Pam Grier invent the modern formula in the Philippines.
Sold as a women-in-prison quickie. Shot like an art film. Meiko Kaji barely blinks.
The Defiant Ones with Pam Grier, shot in the Philippines by a Filipino who actually knew the terrain.