★★½
“Cat’s entertainment.”
An apparent knock-off of Japan’s Female Prisoner #701: Scorpion and its sequels, there’s some uncertainty about the origins of this. I’ve seen it called Korean, Taiwanese or even from Hong Kong. While the cast suggest Taiwan, the director is from Korea, so that’s where I’m going to tag it. Indeed, it’s not quite clear how connected the two entries are: while they share a director and two leads, the plots don’t seem to connect up. Even the IMDb synopsis go to different countries. For the first, it says: “Kang-hie recalls from her cell how she was used by Japanese detectives to track down and destroy the Korean independence fighters. She manages to escape from prison during a break and proceeds to hunt down her former lover who was a Japanese agent.” The second? “Japan conquers China just before WW2 starts. Chinese women are captured and placed in concentration camps, where they are tortured and humiliated. Some try to escape incurring enormous risks, and death if they fail.” Insert shrug emoticon here.
Disentangling the plot for part one required me to deal with subtitles that barely even approach English, and were frequently vanishing off the side of the screen. I’m still not sure whether Don Wen Yue and Dwarn Tien Yu were the names of two different characters, or just sloppy mis-spellings of the same person’s name. Either way, the IMDb synopsis above seems rather inaccurate, unless you squint considerably. Don is an inmate at a Japanese prison-camp, where she is being harshly treated with the aim of making her give up a microfilm which her captors want to obtain. Her status as the daughter of a diplomat is of no help, apparently. However, help is on the way, as it turns out a newly arrived inmate has actually been inserted into the camp into order to assist Don in busting out – along with quite a few friends. Though escaping is only the beginning of their struggle for freedom.
The first chunk of this is painfully prosaic, with sadistic guards (though for a while I wondered if one of them was Yukari Oshima; certainly looks like her, but the era of the movie makes it unlikely). foiled escapes and generally the kind of shenanigans you would expect from the genre. There’s not much invention, and it’s hardly more than PG-rated. Things actually improve a bit once they escape, and it becomes a wilderness survival film. The women have to avoid the threats, not just of the guards in pursuit, but also crocodiles (or alligators, not that it matters) and even a killer plant which tries to wrap its tentacles around them. I’m a sucker for a good killer plant moment, and have to admit that this scene is likely responsible for about half a star of the rating above. There’s eventually an energetic battle on the beach after some betrayal, though it all feels too little, too late.
Moving onto part two, things have… changed. Part one ended with its sole survivor sailing off in a boat. This opens with its two heroines, Kuan Mou-Hua (Yip) and Kao Chuan Tze (Heo), back running through the jungle, apparently escaping from… something. I actually watched this part first, and initially presumed the specifics were all explained in the previous installment. I can now confidently state: nope. Like so much here, even down to the location, it’s unclear. Perhaps the untranslated captions shed light on this; the dubbing (the version I saw was in German with English subs!) certainly doesn’t.
Their bid for freedom is foiled, and they’re returned to captivity under their Japanese masters. Kuan is a bit of a flight risk, and the warden, Kato (Chen), decides the best thing to do is bump her off. However, rather than direct action, which would presumably cause too much paperwork, he’d rather she be killed in an “accident”. When plans to drop the pair off a cliff during their transfer fail, he tries to entrap them into escaping, drown them in a water tank, and finally burn them alive. [I guess the latter does at least prove somewhat successful, in that multiple prisoners are killed. Just not the ones they want]
With the aid of sympathetic guard , Kuan escapes – albeit without her friend, who commits suicide rather than going through further Japanese torture. Sorry: that probably merits a spoiler warning, I guess. Harried by their pursuers, Kuan and Lee make their way through the countryside – including probably the longest handcar chase in the history of cinema. So there’s that… Rather than slide into obscurity, her burning obsession is to take revenge on Kato. For he is about to escape punishment for all his crimes, including the death of Kao, being in cahoots with the judges. This burning quest to carry out vengeance, while relatively minor (it only plays a significant role in the last 15 minutes), is another element which echoes Prisoner Scorpion.
It’s all blandly forgettable: I watched it on Saturday, and by Monday, I’d forgotten so much, I couldn’t remember enough to write about it, until a swift re-view at 8x speed. This second screening largely confirmed its mediocrity, and the movie is in significant need of more, across the board. In particular, more energy: especially in its central performances, which wants someone like Meiko Kaji, around whom the plot can be anchored. Though I won’t lie, more sex and violence might have been no bad thing either, as it’s almost impressively tame. It has plenty of opportunities for nudity, right from an opening gratuitous swimming scene – it just chooses to pass them by. Viewers would likely be best off doing the same to this movie – and to be honest, perhaps the entire series.
Dir: Shin Sang-Ok
Star: Karen Yip, Heo Jin, Bong-jin Jin, Chen Hung-Lieh
a.k.a. Girl in the Tiger Cage and Revenge in the Tiger Cage