Sasori Vol. 2 - Jailhouse 41

Effortlessly cool, visually stylish, and brutally violent, Female Convict Scorpion Jailhouse 41, the sequel to Female Prisoner #701: Scorpion, opens with Meiko Kaji's Matsu locked in an underground cell, where she has been imprisoned by her vengeful one-eyed warden. However, after attacking the warden once again, she is taken to a quarry for some extreme punishment (strapped to a tree and gang-raped by three guards); it is here that she seizes her opportunity to escape, along with six other desperate women.

As the seven fugitives race for freedom though a barren Japanese landscape, they are closely pursued by the warden and his men, who are hell-bent on recapturing their prisoners.

Part shameless exploitation flick and part experimental art-house classic, this film has 'cult' stamped all over it: the film features plenty of scenes of rape, murder, and general gratuitous violence for those who enjoy extreme cinema, yet still finds time to include some amazing cinematography, a few wonderfully surreal and trippy hallucinogenic moments, and a beautiful haunting soundtrack. Something for everyone!

With a totally entrancing central performance by the beautiful Kaji, plus great support from the rest of the cast (especially the woman who plays the psycho child killer with the scarred stomach), Female Convict Scorpion Jailhouse 41 is an unmissable treat for fans of 70s Japanese cinema.

7.5 out of 10, rounded up to 8 for IMDb.

It's difficult to describe a movie like Female Convict Scorpion Jailhouse 41. First let me say that I saw it in a film class that concentrates on the visual styles of several films. In this same class I have seen Touch of Evil and several other "classics." I was amazed to see that this film only had 6 votes(7 including mine), so I had to add my own comment.

This film is masterfully shot in a classic Japanese style that emphazises color and full use of the widescreen presentation. The film also has a bit of a campiness to it that adds a flavor that is unusual for a foreign film. Most foreign films that are thought of as being campy usually are just not well done. This is not the case with Female Convict Scorpion Jailhouse 41. The campiness that I refer to is the same campiness that has made the Evil Dead series such a success. Exaggeration of many shots and the characters themselves.

The story itself is very unique, following a group of escape female convicts lead by an awesome character named Scorpion. The filmmakers gave her a near godlike respect when shooting her, and she is very well developed even though she doesn't speak. She doesn't speak because she knows that actions speak louder than words.

Anyway, I highly recommend this film for anyone who is a fan of foreign films, and I also recommend it to those who like stories based on comic books. I believe that this film is based on a series of Japanese comics; it is put together like a comic book, so it is obvious that many shots and the story are out of this world, as movies such as The Matrix have proved to the main-stream audience.

It is unfortunate, but nearly unavoidable, that what is innovative and successful will be copied until new viewers find the original unchallenging or even imitative of the successive work they have already viewed. Tarantino has been entirely forthright in acknowledging his debts to the innovators in this and other genres. The primary difference between the approaches of this film and Tarantino's "tributes" is that these intend very little irony or parody, while his work is hyper-aware of such things. I think it is important to view the Scorpion films in the proper context: They are excellently produced potboilers which are very pleasing, and their use of Meiko Kaji as an unapologetically aggressive and vengeful woman looking out for herself, while praiseworthy today, was particularly innovative 35 years ago.

Considered by most as the pinnacle of the series Meiko Kaji revises her role as prisoner 701: scorpion. She has become a bit of legend in prison as she has been kept underground for over a year in solitary. The cycloptic warden ( whom blames her for the loss of his eye) is being promoted and has an example made of her consisting of 4 people raping her in front of the other prisoners. She is then transported to another prison with several other prisoners whilst on route they escape thus the story begins.

The film focus even more on the art-house area of the film with underlying themes of feminism, human rights and is quite psychedelic in parts which can be expected from an early 70s film. The nudity is toned down a lot but there is still enough violence and action to keep people entertained throughout and quite a few twists. Sasori speaks even less than in the previous film uttering only a few lines throughout the film. Its highly enjoyable and well written and beautifully shot i particularly liked the waterfall of blood which was done with practical effects and looks great it is quite similar to Suspiria in terms of lighting but I actually enjoy this more. so check it out if you haven't already.

The first film in this acclaimed Japanese exploitation cycle, entitled "Female Prisoner 701: Scorpion", literally perplexed me because it was such an atypical W.I.P accomplishment. It had a great story, a likable heroine character, stylish photography and - shockingly enough - only a minimal amount of nudity and perversion. The second entry in the series, entitled "Female Convict Scorpion: Jailhouse 41", actually astonished me even more! This time because it's such an atypical sequel. The formula of the original film clearly worked, so you would expect and even respect director Shunya Ito and his crew to embroider on the same successful elements, but they don't. In fact, the concept is completely different and easily the most innovative one ever used in a W.I.P film. Most of the action takes place outside the prisons' walls, during an escape that gradually changes into a wild and surreal 7-headed girl-power road trip across the desolate Japanese countryside. Seen from a certain viewpoint the script's drastic change of direction is actually rather logic, since the protagonist's engaging background story properly ended in part one. Scorpion successfully extracted her vengeance and returned to prison to serve a deserved sentence this time. But still, the completely alternative set-up is courageously ambitious and not just the story lines vastly changed, but nearly everything else as well, including atmosphere, imagery, editing, the depiction of violence and even the Matsu's entire persona! She now fully embodies bitterness and ferocity, which is masterfully illustrated through Ito's visionary direction. Matsu barely speaks five complete sentences during the whole film, yet her stares penetrate through the thickest skulls and she catches each suspicious sound in massive stereo. Since her virulent escapades, which even cost the headmaster's eye, Matsu spent the last year in a moist pit underneath the prison. She's allowed one day of daylight when a government inspector comes to visit and this is already enough for her to cause a major hoedown. Severe punishment ensues, but Matsu and six others manage to escape. Their journey turns into a crusade of retaliation against all (male) foes. The convicts' "road trip", if you can refer to it like that, is truly surreal and artsy and often nightmarishly macabre! They encounter a witch who eerily narrates the women's stories, rapists on tour, numerous abstract and depressing tableaux and – last but not least – collective hatred. Especially the vicious Oba battles Matsu for the honor of most respected jailbird. There's a lot of dreamy and addictive weirdness going on during the escape, but nonetheless the actual prison and revenge footage remains the best and most exciting. Both the opening and climax are tremendously brilliant, and even though everything in between is quite uniquely experimental and accomplished, it occasionally gets in the way of the good old exploitation themes. Meiko Kaji's performance is once again marvelous and she receives excellent support from Kayoko Shiraishi (who's overacting actually works) as Oba and Fumio Watanabe as the sadist head warden. Great stuff!