Scorpion’s Revenge is an understandable, if not really helpful, retitling of a film called Sasori in USA; as this suggests, it attempts to add an exotic flavour by setting things in an uncivilised and/or dangerous locale. Foreigners are, after all, inherently evil, and do far worse things to our women than we ever would. This isn’t new: many of Roger Corman’s 1970’s WiP movies were shot in the Philippines, albeit partly for cost reasons.
During its first half, Revenge is largely an identikit job, wheeling virtually every staple of the genre into play. Heroine Nami Matsushima (Yohko Saito) is sent to prison for killing her boyfriend with a car-bomb. Of course, she’s innocent (they always are), and soon finds herself facing the horrors of jail life. These include vicious guards, a predatory lesbian who resembles Jamie Lee Curtis, her innocent friend in the cell next door, and frequent showers. All of these are common WiP ingredients – except, obviously, the need for someone to look like Ms. Curtis. Even the Bible-quoting warden comes from Reform School Girls, where the role was memorably played by Sybil Danning, herself a graduate of the classic Chained Heat. But this incestuous plagiarism is okay: you always know where you are with a WiP film.
Revenge romps through this at high speed in a mix of English and Japanese, until it all gets too much for our heroine to bear. She escapes with her friend, Yuko – who turns out to be blind, though it took me half-an-hour to realise this. This is a great pity, since the film then completely loses its way: while the prison genre offers plenty of scope for entertainment, the wandering-aimlessly-round-a-desert genre is trickier and has been largely avoided (Nicolas Roeg’s Walkabout being the obvious exception).
They eventually reach familiar ground, and that’s more than can be said for the movie, which spirals spectacularly down from this point. Nami discovers the truth about her boyfriend’s death, Yuko goes out for revenge against those responsible for her incarceration, and the resulting plot twists are so ludicrous and badly executed, they kill the film dead. The absurd climax does at least explain half the title, but the contrast to the opening 40 minutes suggests some people are better off cannibalising other movies.
Dir: Daisuke Gotoh
Star: Yohko Saito, Shizuka Ochi, Kristin Norton, Tetta Sugimoto