Elle s'appelait Scorpion

The Western of the series; Scorpion breaks out of a prison van with six other girls and they're all on the run from newly promoted Inspector Goda. Their adventure takes them through wooded forests, cursed witches, stakeout cabins in mountains, rapists by the rapids, bus jacking, police shootouts, and a second breakout

Less boobage, more humiliation, dumber cops, less violence, more anime, still sexy, still bloody, still art-house

If looks could kill, then Meiko Kaji would win hands down. The Toei Series Joshu Sasori (aka Female Convict Scorpion) is based on a 70's comic series which ran in the Japanese Adult Manga Magazine Big Comics. Joshu Sasori Dai 41 Zakkyobou (Female Convict Scorpion-Jailhouse 41) is the second movie of the series (Kaji would star in two additional sequels). Matsu (Meiko Kaji) is the Scorpion of the title and is the near silent heroine of the movie. In classic Japanese exploitation fashion she is subjected to all sorts of cruelty and punishment at the hands of a sadistic prison warden and his equally sinister underlings. Matsu as we learn in narration was wrongly imprisoned and must fight to survive and escape imprisonment. During the course of the movie She joins a gang of other female convicts and escapes from prison. The gang creates all sorts of violent mayhem with Matsu silently watching on. Very bloody, grim and violent, Jailhouse 41 is atypical of the violent, sexploitation movies Toei released during the '70s. Directory Shunya Ito presents the movie in a surreal narrative that is both haunting and inventive. Kaji is captivating as the heroine although her character allows little for her to develop. For those who are fans of girls-in-prison movies this may be your cup of tea. On the other hand for those who are wanting more story and character development you might be better served to avoid this.

I think the substance of the story has been well described by others already but the look of the film has only been hinted at. It's a wonderfully psychotic vision, I often sat there thinking "Where the heck is the camera? How did they get that angle?". The opening shots of Matsu and the warden in her cell were simply incredible. Throughout the film there are surreal interruptions of the narrative in a "Theatrical" style where the location turns into an obvious backdrop and the lighting becomes more intrusive. These scenes usually highlight what's happening behind the eyes of the silent Matsu.

I won't give it away, but near the end of the movie there is a transition between shots that is so incredible and unexpected that the audience broke out into applause just for a TRANSITION! If you are a fan of surreal film or 60's/70's psycho-cinema you owe it to yourself to seek out this film. It is available on DVD now as well.

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!