Piling on its preposterous pretensions to penal reform / socio-political significance, one-shot director “Conrad Brueghel” (Giovanni Brusadori)’s Escape From Women’s Prison (“A Tale Of Sex And Violence”, 1978) is nothing more nor less than another blast of bad taste Italian (s)exploitation from the seemingly inexhaustible Severin vaults, in “a new 4k scan of a dupe negative seized from notorious NYC distributor 21st Century Film Corp”. Just the way we like it… a Tagliatelle Trash fan’s wet-dream collision of the W.I.P., home invasion and rape / revenge filoni.
The sleazy action kicks off with four female convicts escaping over a prison wall. The film’s budget doesn’t extend to any depiction of the jail itself, but what the hey? Diana (Marina D’Aunia), Erica (Ada Ometti) and Betty (Artemia Terenziani) are ten-a-penny prostitutes, drug dealers and killers but Monica (Lilli Carati at her beautiful peak as Italy’s answer to Isabelle Adjani) is a Marxist terrorist so naturally she becomes top dog.
These desperate individuals hijack a team bus full of female college tennis players (usual suspects Zora Kerova, Ines Pellegrini, Dirce Funari and Angela Doria) and drive it to (where else?) the country pile of the judge (Filippo Degara) who put them all away in the first place. The girls seem mostly miffed about the fact that they’re going to miss their tennis tournament and when one of them complains about this, she’s slapped down with the witty retort: “Shut your hole, cunt!” Looks like it’s going to be a long night…
As armed police lay siege to the house, earnest discussions of dialectical materialism give way to a drunken lesbian grope fest (during which there are as many blatant plugs for Jagermeister as for J&B) and – obviously figuring “if you can’t beat ’em, join ’em” – the judge rapes Monica (!?!) After this questionable judicial intervention, she saves the hostages (by shooting her fellow cons) and attempts to abscond with Pellegrini’s character (who seems to have undergone some kind of radical political conversion) only for a “hail of bullets” sound effect to suggest that they didn’t get very far.
So, what moral can we possibly deduce from this tawdry tale? That stroppy female Lefties respond well after having some sense shagged into them by male authority figures? Nope, I don’t think that one’s gonna fly in 2019. Brussadori also seems to be suggesting that no prisons are more constricting than the ones which we construct for ourselves. Carati’s prison was heroin, a confinement she finally escaped for good on 20/10/14. She was all of 58 years old.
Extras include a particularly ripe trailer which plays out under a ludicrous police radio bulletin clearly fashioned on the one in Last House Of The Left, plus an interview with Brusadori, who seems like a nice guy and is never going to get lost in a crowd wearing that cardigan. You also get the longer Italian cut entitled Le Evase, in which certain scenes are allowed to ramble on a bit longer. Perusal of this reveals no significant new sleaze, but it’s not as though you’ve been short-changed in that regard by the main feature.