Women in Cages (1971)

Plenty to Like, Plenty to Dislike

Absolutely Brilliant!

One of the worst ways to make a cult movie is to set out to make a cult movie.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Women in Cages (1971) *** (out of 4) An innocent woman named Jeff (Jennifer Gan) takes the wrap for her boyfriend's heroin and is sentenced to a dangerous prison ran by the sadistic Alabama (Pam Grier). Jeff keeps holding out hope of getting out with the help of her boyfriend but her cell mate (Roberta Collins) tells her there's only one way out and that's through an escape. WOMEN IN CAGES isn't Shakespeare and it won no Academy Awards but it at least delivers what the title promises. It's easy to see why this film was such a hit when it was released because it features just about every type of perverted situation that you'd want for a sleazy drive-in movie. In fact, just thinking about the days when something like this was getting released weekly makes you wish these type of things were still being produced and especially at this type of quality. In regards to women in prison movies, this one here is certainly among the better ones thanks in large part to the Philippine locations as well as the cast. Both Gan and Collins make for good partners and while their performances might leave a bit to be desired, it's doubtful anyone coming to a flick like this is wanting great performances. Both fit their roles just fine and their beautiful bodies are constantly on display. Grier is once again the main standout as she gets a shot at playing bad and she does a terrific job with it. It's too bad she wasn't given more roles like this because it seems like she's having a blast. The film offers up women in showers, women fighting, torture sequences, sex scenes and just about everything else that fans of the genre would want. Is this a classic, all time great film? No but it's a fun reminder of what made this genre so entertaining.

Naive and innocent Carol Jeffries (a solid and appealing portrayal by the attractive Jennifer Gan) gets framed by her dope dealer boyfriend and winds up incarcerated in a brutal female prison located in the Filipino jungle where the sadistic head matron Alabama (fiercely played with lip-smacking wicked relish by Pam Grier in a rare full-blown villainous role) treats the inmates with appalling cruelty and inhumanity. Director Gerry De Leon, working from an appropriately sordid script by James H. Watkins and David B. Osterhout, relates the harsh story at a constant swift pace and maintains a suitably hard and gritty tone throughout. All the pleasingly seedy grindhouse bases are well covered here: copious gratuitous female nudity, demeaning strip searches, a group shower scene, a ferocious catfight, lesbianism, torture, prostitution, drug use, and a thrilling breakout. Sturdy distaff veteran drive-in flick favorites Judy Brown as the sarcastic, hard-boiled Sandy and Roberta Collins as the resilient, but treacherous strung-out smack addict Stoke both excel in their juicy parts. Moreover, there's a pervasively rough, grimy, and sweaty quality to this picture which greatly enhances the overall supremely seamy atmosphere. Felipe Sacdalan's fairly polished and dynamic cinematography does the trick. The funky syncopated score likewise hits the get-down groovy spot. Recommended viewing for fans of down'n'dirty 70's exploitation cinema.

American B-film companies found in the Philippines a cheap, plentiful supply of labour and locations for their tropical drive-in sleazefests. Admittedly these exploitation films are an acquired taste and a dubious form of entertainment; however they mark an important cultural milestone as the first features where a black actress, even playing a prison moll or topless revolutionary, is given a lead role of any substance. Director Jack Hill started the eightball rolling when he shot The Big Doll House in 1971, set in a nameless Latin American prison but filmed in the Filipino jungle. Unseen in Australia since the early 70s, the film featured a mixed cast of local and American exploitation regulars, but it's remembered as the first high-profile role for the later Queen of Blaxploitation, Pam Grier.Legend has it that Sam Arkoff, head of American International Pictures saw a statuesque Grier at his company switchboard and cast her on the spot for her breakthrough hit Coffy. That, as they say, is bull shee-it. The former beauty queen made her film debut in 1970 as an extra in Russ Meyer's big breast bonanza Beyond The Valley Of The Dolls, and appeared in a number of B-pics shot in the Philippines the following year for AiP's rival company, Roger Corman's New World Pictures. Alongside her role as the tough-as-nails prostitute in Big Doll House were supports in the horror flick The Twilight People and as a topless hooker (again!) in Cool Breeze, then back behind bars for Women In Cages.In Women In Cages, Grier plays the sadistic warden for once, a pot-smoking lesbian with a fully-equipped torture chamber (including a guillotine!). The 'New Fish' (a recent inmate, for you prison film novices), a ditzy blonde ex-stripper called Alabama, has taken the heroin possession rap for her pimp boyfriend. She knows too much, so the pimp blackmails her cellmates to execute her. A competent and well-shot entry in the tropical prison genre from Filipino director Gerry De Leon, it places the embittered ex-addict and prostitute Grier in the position of slave owner, watching her white charges toiling away in the plantation with obvious ironic glee.

There have been a lot of movies with the theme of beautiful women being locked in prison and abused by the warden. This film is a classic example of that theme.Pam Grier, the black movie queen of 1970's "B" movies, is the sadistic warden of a women's prison in a foreign country. Two of the prisoners attract her attention - a hot-blooded redhead, and the prison-informant blonde. The redhead is in prison on charges of murdering her husband. I can't remember why the blonde is in prison, but then that doesn't really matter in the film anyway. Let's just say that the redhead and the blonde don't get along, and the warden utilizes her own distinct form of justice when they get into a fight.The redhead is taken into the warden's "play room", stripped naked (we only see the upper half), has her arms pulled up over her head and is then locked into some boots, which are then slowly cranked apart to spread her legs wide. A brazier's flame covers her modesty for most of this scene, as the warden taunts her a bit and then pushes the brazier forward - "This is our version of the hotfoot!". Cut to a scene of the women working in the field as the redhead's screams echo through the prison walls.Later on there's a prison riot and the blonde irks the warden. To punish her, the warden strips the blonde (this time a restraint strap covers the actress' modesty) and binds the prisoner to a wheel and spins her around. After a few rotations, the warden tries to taunt the blonde into submission, but instead of surrendering, the blonde spits into the warden's face. In retaliation, the warden pulls out a trident and stabs the blonde as she's spun on the wheel some more.Eventually the blonde and redhead team up and escape from the prison, and are pursued by the warden and her guards. The prisoners kill off the guards, capture the warden, and leave her tied to a tree as they flee to freedom.The movie is worth seeing if you like women-in-prison films. Not much gore, and the only nude scenes are the ones described above, but what's there is worth a late-night or afternoon screening. People probably won't think of you as a cinematic genius, but what do you expect for a 1970's prison film?