Joshû sasori: 701-gô urami-bushi

This begins well enough and has enough going on, a male helper this time, to maintain the interest until the most exciting scenes come along. It is a good idea that Meiko's seeming saviour here has had history with the police already from his days of 60s student rebellion. Flashbacks enable stand-in director Hasebe to double his violent police demonstrations with current and b/w past. This is number four in the series, however, and needed more not less in the way of interesting action and visuals. Gone are the stylish sequences and gone the surrealism. The endings, both false and actual are fun and if this is a disappointment it is no disgrace and while not the greatest of finales, probably a much better fourth episode than many might have expected. Worth seeing.

Nami Matsushima, the Scorpion, still on the run from Kodama, meets Yasuo. Together they try to exact revenge on the corrupt detective, but when things go awry, Nami is back in prison and has to find a way to escape before being hanged.

Meiko Kaji returned to play the title role, but director Shunya Ito was replaced by Yasuharu Hasebe (1932-2009). Hasebe was more controversial, and is best known for his movies in the "violent pink" subgenre of the Pink film, such as "Assault! Jack the Ripper" (1976), and the provocatively-titled "Rape!" (1976), "Rape! 13th Hour" (1977) and "Raping!" (1978). Take from that what you will.

Because of the change in director, some people do not consider this to be a "full" sequel in the Scorpion series, despite the lead actress returning. I have no opinion on that one way or the other.

The fourth installment in the incredible 'Female Prisoner' series, starring Meiko Kaji. Director Shunya Ito declined to direct this final part because of budget cuts. Yasuharu Hasebe takes over here, and directs a respectable final chapter to one of the most loved serials in Japanese cinema. Hasebe was also responsible for a controversial trilogy of rape themed films including "Rape! 13th Hour". His influence is seen here, as 'Grudge Song' features some over-the-top scenes of torture and rape. Of course though, not on the extreme level of his more subversive works, as I think the Scorpion series was aimed at a somewhat larger audience. This one begins with Nami on the run once again, from the angry cop that has been pursuing her through the entire series. She finds a little solace with a man (!) who hides her from the police and helps to nurse her back to health. Surprisingly, Nami allows a man to get a little close to her, however she keeps him at arms length, as she knows that no man can truly be trusted. No worries though; the film never gets bogged down by sappy romance, as that would make 'Sasori' look somehow weak. I believe she only mutters two lines of dialog to her companion throughout the film.'Grudge Song' takes a little while to pick up speed, but it surely does, just about at the halfway mark, when she is once again caught and thrown into prison. It is always a rush to see the 'Scorpion' dressed in the familiar prison stripes. I don't care how many times they do it, it never gets boring. With each passing installment Kaji seems more 'godlike'. Here she comes across as some vengeful spirit from another world. Was this sequel necessary? Not really, but who cares. A chance to experience another adventure with this amazing heroine is always welcome. If you are a fan of this series, then this film is a must. It also a good opportunity to see a film from Yasuharu Hasebe, as most of his other films are extremely hard to find. And if you are wondering if Nami puts on the black coat and hat to seek out revenge once again...She does! And this time her vengeance is more personal. Recommended!

The fourth and final of the brilliant original "Sasori" films with the unrivaled Meiko Kaji, "Joshuu Sasori: 701-gô urami-bushi" aka. "Female Prisoner Scorpion: 701's Grudge Song" was directed by Yasuharu Hasebe instead of genius director Shunya Ito, who had directed the three ingenious predecessors. Even this fourth "Sasori" flick does not quite reach the brilliance of its predecessors (all three of which are unique and unrivaled masterpieces of Exploitation cinema), "Grudge Song" still outshines almost any other film of the WIP ("Women In Prison") sub-genre by a thousand times. What makes this a little less brilliant than its predecessors is probably the replacement of Shunya Ito as a director. Ito had a great passion (and a great talent) for the use of surrealism, and Yasuharo Hasebe obviously preferred to use these elements to a lesser extent. The first three "Sasori" films were THE proof that making Exploitation and Art-house cinema at the same time was possible, and while "Grudge Song" still is a wonderful example of Exploitation-Art, it does not quite live up to the brilliance of the iconic original "Joshuu 701-gô: Sasori" and the ingeniously surreal sequels "Jailhouse 41" and the third masterpiece "Beast Stable", which is arguably the greatest of them all. Nevertheless, this fourth "Sasori" film is an absolute must-see for any fan of Exploitation and serious lover of film in general, that delivers pure brilliance in many aspects.

While Meiko Kaji's character Nami Matsushima aka. "Sasori" was mainly looking for revenge in the first film, the films become more and more political throughout the series. "Grudge Song" is again full of social criticism and broaches issues such as poverty, police brutality, rebellion and the death penalty. The film once again features a lot of violence, as well as very artistic elements. The beautiful Meiko Kaji once again brilliant in the role of Sasori, I just cannot praise this great actress enough. The rest of the performances are also great, and the the film once again has "Urami-Bushi", which Kaji sings, as the main theme song. The photography is also amazing, the film is visually stunning throughout its 89 minutes.

Though it doesn't quite reach the brilliance of its predecessors "Grudge Song" is definitely also an excellent slice of Exploitation-Art and a must-see for every serious lover of cult-cinema in general and J-Exploitation in particular.

More than practically every film I've seen before in my life, "Grudge Song" emphasizes the essentialness of one certain director linked to a cinematic franchise. Shunya Ito directed the first three installments of the ""Female Prisoner: Scorpion" series and they were simply phenomenal and pretty much flawless. For this fourth entry, Yasuharu Hasabe took place in the director's seat and promptly the narrative ingenuity as well as the stylish characteristics notably lowered in quality. By no means I intend to claim that "Grudge Song" is a bad film – far from it, as you can derive from the rating I've given – but it nearly isn't as breathtakingly awesome as the previous ones. But in all honesty, Hasabe can't be blamed entirely, as he actually just remained faithful to his own personalized style and filming methods. This man also directed uncompromising and vastly outrageous Cat-III movies with delicious sounding titles such as "Rape! The 13th Hour", "Assault: Jack the Ripper" and even "Stray Cat Rock: Sex Hunter", so you honestly can't expect this man to alter his style towards a more elegant and suggestive type of exploitation cinema. The fourth film is much sleazier and straightforward, with less likable character drawings and visually dazzling gimmicks. Hasabe obviously didn't care too much for the complexities of part three ("Beast Stable") or the deliriousness of part two ("Jailhouse 41") and returned to the gritty in-your-face mentality of the original. The script is largely a re-run of familiar themes. Nami is still a fugitive from the law and she has yet another relentless copper obsessively chasing her. She finds shelter, and even affection, in the arms of a porno theater employee who still has an old score to settle with the police. But when he get captured by the police and brutally interrogated, he betrays Nami's hideout place. Back in prison our heroine picks up her old habits of causing riots, manipulating personnel and fellow inmates and – of course – attempting to escape from the hangman's rope. "Grudge Song" is definitely still a good movie, far superior to the majority of contemporary exploitation movies for sure, but a weaker entry in the series. The plot only offers few surprises and Nami suddenly transformed into a genuine antagonist to the audience as well. You always sympathized with her before, but here she commits a handful of crimes that can't possibly be justified. She also talks a little more in this film, and her silence was part of her charming personality in the other installments. Talking in terms of visual decoration, "Grudge Song" is fairly mediocre with only a couple of noteworthy highlights (like the truly menacing POV-shots of the noose in the middle of the prison's yard). This film also immediately marked the end of the "official" Female Scorpion cycle. The successors, appropriately entitled NEW Female Prisoner, don't star Meiko Kaji in the title role any longer and aren't directed by any of the above-mentioned directors. I'm curious about the remaining two films (which I own in a fancy box set), but I'm keeping the expectations rather low just to be sure.