The Jail, The Women’s Hell

This is Bruno Mattei's second-to-last film and if there was one factor Bruno Mattei (here mistreatment his "Vincent Dawn" pseudonym) had till the day he died (May twenty one, 2007), it absolutely was the cheapness issue. If you wish to examine him use it in one in all his best films, this is often the film you wish to examine. As a matter of truth, it out-sleazes most of the WIP films of the 70's & 80's and will it thus simply, it absolutely was like Mattei might fuck along with his eyes closed. however his eyes square measure wide open here and you ought to very, very purchase this optical disk currently that it's accessible on legitimate optical disk from Intervision image house. 

The latter day inventive output of noted Italian trash creative person Bruno Mattei has become famous for its fast(er) and cheap(er) shot-on-video sentiment, whereas still managing to be infused with the author and director’s predilection for fast paced, breezy stories with lots of exploitable parts to stay cult cinema fans happy as punch.

The fine of us over at Intervision and Severin Films have discharged variety of those pleasant twilight amount Mattei joints on videodisk over the past number of years, with The Jail: The Women’s Hell serving because the company’s latest disc. sadly, this one’s a small amount less fun than a number of their previous discs-which enclosed Mattei’s Mondo anthropophagite Associate in Nursingd Zombies: The Beginning-thanks to an overall uncheerfulness that hampers the assembly.
The film’s screenplay-written by Mattei and frequent collaborator Antonio Tentori-basically takes all of the established tenets of the “women in prison” film and photocopies it, from the brutal and power hungry feminine peace officer to the cluster shower scenes and fetishized sequences of girl-on-girl violence. The Jail additionally borrows from such earlier Italian cheapness fests as edifice Paradise, throw off a Women’s jail and even Mattei’s own Women’s jail Massacre and Violence during a Women’s jail, albeit on a good lower budget, with locals masquerading as actors.

Yes, it’s true that lead Yvette Yzon is not any Laura Gemser, however she’s really the simplest role player here by leaps and bounds, as Mattei’s film goes through the sleazy motions with super fast cuts and edits, making an attempt to see as several WIP criteria boxes as potential before inexplicably shift gears halfway through the film’s time period, turning The Jail: The Women’s Hell into one more cheat of the foremost Dangerous Game, wherever humans ar used as prey for the searching elite.
Sadly, this delivery speaks additional towards the film’s lack of steam and conviction, with Mattei and Tentori apparently happy with sandwiching 2 lackluster snoozers into one film that definitely delivers the perspiring cheapness at points, however extremely doesn’t leave a giant enough impression compared to the body of labor Mattei left behind together of Italy’s most ill-famed filmmakers.