Simply A Masterpiece

It's no definitive masterpiece but it's damn close.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

In this sequel to "Female Prisoner #701-Scorpion", the inmate known as "Matsu" (Meiko Kaji ) has been captured after her escape and placed into a harsh isolated confinement by the warden. However, due to the arrival of an inspector she is allowed to make one brief appearance outside of her jail cell. She uses this opportunity to attack the warden and cause a riot among the prisoners after which she is tortured and then raped. Although humiliated and thoroughly despised by everybody she continues to endure and nurses her hatred for the day when she will be given a chance to obtain her revenge. Now rather than reveal any more of this movie and risk spoiling it for those who haven't seen it I will just say that this was an artistic "Women-in-Prison" film unlike anything else in the genre. Unfortunately, the heavy use of symbolism severely clashed with reality and in my opinion this caused the film to lose much of its credibility. In essence then, I would have preferred that it stayed more in line with the standard format. That said, although this certainly isn't a bad movie necessarily, I still have to call it like I see it. Slightly below average.

After beginning the brilliant "Sasori" series starring the great Meiko Kaji, with "Joshuu 701-gô: Sasori" in 1972, director Shunya Ito carried on to make this first sequel, "Joshuu Sasori: Dai-41 zakkyo-bô" aka. "Female Convict Scorpion Jailhouse 41", which comes very close to the brilliance of the first part. "Sasori: Jailhouse 41", as it is called where i live, is easily the most surreal of all Sasori films. As the first part, this is THE perfect proof that it is possible to make Exploitation and Art-house cinema at the same time. Brutal and beautiful, sleazy and visually stunning, full of violence as well as full of symbolism, "Jailhouse 41" is another true gem of Exploitation-Art.After disrupting a prison ceremony, which was to impress a government official, Female prisoner 701, Nami Matsushima aka. "Sasori" (Meiko Kaji) is tortured and abused even heavier than usual on behalf of the sadistic Inspector Goda (Fumio Watanbe). Sasori endures the torture with her usual stamina, and takes the first chance to escape with six other female prisoners...As the first film, "Jailhouse 41" is again very violent. This film, however, is by far the most surreal of the entire series. Brutal tortures, murders and rapes are featured as well as visually stunning artistic elements, symbolism, and dream-like sequences. The stunningly beautiful Meiko Kaji is once again brilliant in her role of Sasori, I simply lack the words to express my admiration for this wonderful actress. Fumio Watanbe is also excellent and wonderfully sadistic as Inspector Goda. The rest of the performances are also great, especially the women who play the six other escapees are very good in their roles. As the first part and the sequels to follow, the main theme song is the iconic "Urami-Bushi", which Kaji, who is not only a brilliant actress but also a wonderful singer, sings herself.Personally, I still prefer the first "Sasori" film, and the third part "Joshuu sasori: Kemono-beya" aka. "Female Prisoner Scorpion: Beast Stable" (1973), which is arguably the best of them all. However, "Jailhouse 41" is doubtlessly a masterpiece too, and there probably little point in arguing which of these fantastic films is No. 1. The entire "Sasori" series is an absolutely outstanding highlight of exploitation cinema, and "Jailhouse 41" is ingenious in every aspect. This is a must-see for my fellow fans of Exploitation cinema and Art-house cinema alike, and a cinematic highlight that is highly recommendable to all lovers of cult-cinema!

I saw the first one of this series in the cinema, this one on DVD. Inevitably, something is lost on the small screen, but it is still an amazing piece of cinema, a rare example of a sequel better than the original. While the first movie was gloriously over the top in its depiction of women in prison, the sequel has a more straightforward narrative with less obvious sex and violence and is obviously influenced by Suzuki with its abstract dream sequences and deliberately stage settings.I was very skeptical of claims that the first movie was 'feminist' - i thought it just reveled in showing sexy women do crazy things. But this movie is more overtly political. Its a rare thing in a Japanese movie to refer to Japanese war crimes, but it bluntly shows a bunch of dimwitted war vets boasting about raping Chinese women in Manchuria.This movie is one of the high points for me of Japanese commercial cinema - gloriously over the top, sexy, outrageous, cinematically stylish and daring and still deeply satirical and intelligent. They just don't make 'em like this anymore.

I just watched this on DVD (which IMDb doesn't seem to know is available) as I've become a big fan of Kaji Meiko. I enjoyed Lady Snowblood, and the first movie in the "prison" series. But this movie is a hack job. There is no sensible plot, the editing is beyond shoddy, and the acting consists almost entirely of staring (by Kaji), or hysterical screaming (by everyone else). There are apparently a few "dream" sequences that suddenly appear early in the movie without any obvious connection to the story. Sometimes the scenery changes from rocks and dirt, to leafy greenery, to red leaves in the course of about 30 seconds.There's not a shred of explanation given why the warden hates the main character enough to abuse her so much. Nothing about why the other prisoners hang out with her, but seem to hate her too. Kaji's character says her first line at about 80 minutes into the movie, and her last line at 81 minutes. Not counting the soundtrack, which she sings most of.I didn't expect much from a cheap women-in-prison exploitation flick, but this film would barely be a passable effort by a high-school film class.