Joshû sasori: 701-gô urami-bushi

After narrowly escaping brutal Detective Kodama Sasori hides out in a seedy strip joint in the back streets of Tokyo.There she encounters Kudo who was humiliated and tortured by Kodama and his cronies years ago.The two strike a bond and soon set out to exact Kudo's long dreamt-about justice against detective Kodama.But their plan is not going to end happily."Female Convict Scorpion Grudge Song" is filled with sadness and unrelenting nihilism.Yasuharu Hasebe,the creator of violent pink sub-genre directs with a sure hand and Mejko Kaji is fantastic as a relentless Sasori.She even kills a cop with a white rose.There is also sleazy gang-rape scene and plenty of nudity.If you enjoyed previous installments of "Scorpion" pinky violence series give this one a look.8 out of 10.

Grudge Song is the last entry in the "official" Female Convict Scorpion series and is often considered lesser to the other three. This is true, it's not quite as good as those that went before it; but even so, the film is certainly a worthy entry. Grudge Song is directed by Yasuharu Hasebe, as opposed to Shunya Ito who directed the first three. That doesn't really affect the quality, however, as the new director adequately emulates the style of the previous ones and the film certainly fits into the series well. The first three films all had different styles, though this one seems to take the most influence from the one that came directly before it, 'Beast Stable' as the action is fairly slow. The plot once again focuses on the quiet dark haired lunatic that goes by the name 'Scorpion'. She's still on the run and after a run-in with the cops, finds herself injured. She's helped by a young man who takes her in, gives her shelter and forms an alliance with her. However, after another run in with the cops; he's captured and finds himself with a dilemma...

This film is not as surreal as the previous entries as the new director seems to prefer a more direct and exploitative approach, and that's OK with me. The surreal elements are what made the previous films what they are in a way, but I've come to expect a different thing each time from this series so I don't mind that change in style here. Meiko Kaji once again takes the central role and once again does excellently with it. She doesn't say a lot as is usually the case, but she looks so sinister and this is what really makes her performances in these films. This film has less of a revenge theme and more of a political one and it works fairly well. The violence is still the main focal point for me, but this film probably has a bit more 'meat' on it than the previous three. There's still plenty of room for what Scorpion does best, and those hoping to see her get revenge on people won't be disappointed as she certainly gets it once again. Overall, this film is not as great as the fantastic original; but it still fits into the series nicely and overall I'd say it's on par with the three sequels. Recommended!

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.

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.