Before the slasher flick cut a bloody swathe to the head of the B-grade pack in the mid 1970s, women-in-prison pictures (along with kung fu and blaxploitation) reigned supreme at the grindhouse box office.
The invention of this sexploitation sub-genre is attributed to legendary Spanish schlockmeister Jesus ‘Jess’ Franco. In the late 1960s, impressed by the success of such films as Russ Meyer’s Faster Pussycat, Kill Kill! (1965), Franco released the controversial and shocking 99 Women (1969), a voyeuristic low-budget epic of bondage and sadism set in a Panama prison which became a hit on the midnight circuit. Imitators jumped on the bandwagon and the women-in-prison film was born.
Roger Corman Presents
Enter producer Roger Corman, who within a short period of time batted the women-in-prison film out of the cage. His winning streak started with The Big Doll House (1971) which was followed by Women in Cages (1971), then The Big Bird Cage (1972) and finally Caged Heat (1974) directed by Oscar-winner to be Jonathan Demme.
Those three short years were like a lightning strike for exploitation cinema – The Big Doll House alone grossing US$10,000,000 (converting to US$50,000,000 when adjusted for inflation). Although box office receipts aren’t readily available for other offerings in his women-in-prison cycle, takings were no doubt as abundant as the cleavage on display. For a moment in time it seemed like every second cinema-goer on the planet wanted to see bosomy, scantily-clad women put through the wringer under incarceration.
Shower Scenes and Catfights
Women in Cages (1971) is a seminal entry into this sexploitation sub-genre, with just about every required sensationalistic keynote effectively struck in its slim 78 minutes: sexual and physical abuse, sadistic wardens, voyeuristic strip searches, group shower scenes, lesbian sex and catfights.
The plot is pretty much the same as every other women-in-prison flick. A young woman, this time played by the inexpressive Jennifer Gan, is set-up on a drug possession charge. She is sentenced to a hellish prison in the middle of a jungle. Unable to endure the conditions she plans an escape with a posse of other prisoners. With various double-crosses along the way, some make it out and some don’t.
Starring Pam Grier
The real star of this film is the glorious Pam Grier, B-movie queen and staple of the Corman stable, who again rose to prominence two decades later in the titular role of Quentin Tarantino’s Jackie Brown (1997). Grier featured in several women-in-prison films for Corman. In most of them the actress Tarantino has described as possibly the first female action star ever plays the heroine. The twist devised by Corman for Women in Cages was that Grier play the villain – Alabama, a towering, sadistic lesbian prison guard fond of torturing and sexually abusing female inmates.
Shot in the Philippines
The film was shot on the extreme cheap in the Philippines, back to back with previous Corman release The Big Doll House, which seems to share the same location, same cast and a similar plot. It is not beyond reason to surmise Women in Cages was a glorious afterthought, shot on left over stock from the other film before Corman moved on to his next project The Big Bird Cage.
The man at the helm of this manic and manipulative mess was the Philippine’s most revered director Gerardo de Leon, whose previous output included The Blood Drinkers (1966), Mad Doctor of Blood Island (1968) and Brides of Blood (1968).
De Leon’s technical incompetence is a great asset to the film, keeping the audience both off-balance and wondering what bizarre direction the action will head in next. Highlights include what may be the worst use of the day-for night shooting technique in cinematic history. In one scene set in broad daylight on a brightly sunlit banana plantation one character actually says ‘It’s too dark. I can’t see anything’.
The story-telling is no slicker. Not only does the plot lack overall logic but inherent logic is missing within key sequences. At one point Grier, taken hostage by the escapees, is shot at close range with a machine gun. Miraculously surviving but unable to walk unassisted, another character comments of her ‘She’s not hurt. She’s just faking it.’
But such madness is all part of the appeal of low budget exploitation film. And as one of the most successful independent films ever released Women in Cages is ultimately a triumph of the women-in-prison sub-genre. All the essential elements are here – large bosomed actresses in skimpy outfits toting fire arms under jeopardy. It is well worth an investment of 78 minutes of the viewer’s time.
Grant Osborn - Author of 'Ghost Hunt' (2005), 'Unexplained New Zealand' (2007) and 'Something is Out There' (2010). Producer of television show 'Ghost ...
