There are those who not only enjoy a movie for what it is but for the genre it inhabits. When the movie is discussed it is not viewed on it's own merits but for what it says about the conventions of that style of storytelling as well as how it compares to other movies of it's ilk. That said, I do not have an encyclopedic knowledge of Japanese female prison revenge movies. I don't have the vocabulary necessary to put an exploitation movie from Japan into it's proper context within the realm of other grindhouse productions, it's place in cinema at large or what it says in regards to the views on gender and current events that it presents. I do, however, know what I like and Female Prisoner 701 Scorpion [Joshuu 701-gô: Sasori] is all sorts of awesome.

The anti-heroine for this story is Nami Matsushima, aka Matsu, aka Prisoner 701, aka the Scorpion. Only a character this cool could possibly wield so many names. What's odd is that at no point in the movie is Matsu ever referred to as "Scorpion." Maybe it's a nickname her friends use when they aren't busy being terrorized by the guards or hassled by the other prisoners. Even when you factor in the work details and time spent contemplating revenge there still must be an awful lot of down time in prison. Matsu is played with a steely eyed intensity by the lovely Meiko Kaji. The look of fierce determination on her face never falters, letting everyone know that in spite of all the suffering she has to endure she will unleash incredible vengence the second she finds an opening. Anyone foolish enough to cross her will go down, it's only a matter of time. God, I think I'm in love.

Not only does Matsu kick all sorts of butt she looks great while doing it. While in the big house she's stuck modeling the same bag-like prison outfit all the rest of the inmates have to wear. None of the other screws, however, can match her prison hair. Long, thick and pretty, it frames her face quite well and never looks anything less than wonderful. When she finally gets to go on her revenge spree Matsu opts to dress in an all black ensemble topped off with a wide brimmed hat. Decked out like that Matsu looks like a go-go version of The Shadow which shouldn't work but she pulls it off. Even the melodramatic outfit she chose to wear when she was initially arrested shows that right off the bat Matsu knew that one of the most important aspects of exacting violent justice is that you have to look as dramatic as your actions.

Another thing that helps make Matsu's revenge look so good is the direction of Shunya Ito. Most exploitation movies seem content to let their poor taste and shock value be their selling points. Ito, however, takes something that could easily have been a routine production and turns it into something more. Since the plot of Scorpion is barely connected to reality Ito takes it one step further and makes several scenes impressionistic. Dream sequences, garish lighting, and intentionally artificial surroundings push the presentation in new, unexpected directions. Most women in prison movies don't venture into expressionistic styles of storytelling but Scorpion succeeds by presenting it's story in such a bold manner. I don't know what was going in Japan in the 1960's and 70's that allowed even it's non-mainstream movies to be so creative but it makes for thrilling, or at least bizarre, viewing.

The plot -for what it's worth- involves the betrayl of Matsu at the hand of the man she thought loved her and the actions she has to take to bust out of the joint and put foot to ass. Along the way there's torture, sex, sexual torture, and an endless amount of screen time devoted to Matsu shovelling dirt. Except for the dirt digging sequences it's pretty much what you would expect from this sort of story. It is, however, perfectly adequate for the movie and gives the viewer exactly what they want. Whether you want a movie that features one woman who triumphs against the odds or are interested in the more base impulses that are explored along the way, you'll find something in Scorpion to amuse, entertain or repulse you.

The problem I have with this review is that I'm recommending an unapologetically exploitational film. Yes, Scorpion is pretty much crazy in a good way and Matsu is unstoppable and awesome. But, still, it's not the sort of thing you sit down and watch with the family or discuss in casual conversation. This review is not so much aimed at the general public but instead at those thick skinned few who don't mind rolling with the punches when it comes to their viewing entertainment. Besides, there are times when a movie is so impressive that it moves beyond it's intended audience and into the realm of pure art. If you're going to see one Japanese women in prison movie you could do a lot worse than Female Prisoner 701 Scorpion.

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