Such a frustrating disappointment

Dreadfully Boring

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

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

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.

Matsu, known to the prisoners as Scorpion, is locked away in the bowels of the prison as revenge for disrupting the smooth operation of the prison and for her disfiguring attack on the warden. Granted a one day reprieve due to the visit of a dignitary, she takes advantage and attacks the warden again. This leads to more brutal punishment and humiliation. But the punishment gives her an opportunity to escape along with six other female prisoners.Jasper Sharp notes that while the 1970s were full of women in prison films all around the world, the Scorpion films were "far better made and far less exploitative, and adopting an almost fantastical approach to the material". He also notes that this second part, interestingly enough, spends a great deal of time outside of the prison.There is is a definite shift from the first film. We still get a sense of color, letting us know the director actually cared. But we also have the exploitation angle toned down a bit. If you're counting the naked bodies, you will notice they have decreased sharply this time around. Whether that makes this a better film is open to debate, but it indicates the people involved believed they had something to sell besides naked bodies.

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!