![]() It wasn’t released in the US until 1973, under the title “School for Unclaimed Girls”, which made it more marketable and less dated in its terminology. It merges psychological drama, sexploitation and delivers social commentary that is a reflection of its time. They share a lot in common and an intimacy forms, then they devise a plan to escape.ĭirected by Robert Hartford-Davis and script by John Peacock, “The Smashing Bird I Used to Know” is a British film released in 1969. To avoid being bullied, Nicki develops a friendship with a lesbian inmate, Sarah. He attempts to rape the young girl, who retaliates by stabbing him.īeing a minor, she is sent to reformatory for emotionally disturbed and problematic young girls. Her mother is emotionally withdrawn and has taken in various male lovers, most recent is a gold-digging con-man. Seven years later, she is still traumatized and feels a sense of guilt. Nicki is plagued by the death of her father while riding a merry-go-round when she was nine. Or they are just straight up violent porn videos with no original storylines, charismatic characters and nothing memorable.ġ. Some are revered as satirical spoofs or weak homages passed off as being edgy with an overly polished presentation. By the 1990s and beyond, with the insurgence of the Politically Correct Police and the need for Trigger Warnings, many exploitation films are reduced to being watered down in comparison to their predecessors. The following list contains sexploitation features from the “glory days” of Women In Prison (aka WIP) films, circa 1969 until 1989. In the late 1960s, with domestic and international film markets free to incorporate and exploit material such as violence and nudity gave birth to a new genre in addition to creating subgenres. With that in mind, we offer up ten of the greatest escape films of all time, additional examples where cunning and cleverness try to overcome injustice and indignity… or as above, the legal and the lawful.As early as the 1930s, Hollywood made women in prison films as melodramas with minimal action and means to portray the pathway to a righteous life with titles such as “Ladies They Talk About” and “Hold Your Man”.īy the 1950s, with the influence of pulp novels, many features like “Caged”, “So Young, So Bad” and “Women’s Prison”, would take place completely behind bars and fences of women’s correctional institutions. Like a post-modern crime concoction of several stereotypes and High Noon, the story sees this old man and his ragtag collection of citizens trying to stop the villain and his posse from seeing his plan through to the end. In the case of Arnold Schwarzenegger’s quasi-comeback, The Last Stand - now out on DVD and Blu-ray - that barrier is aging sheriff Ray Owens. Thus, when a group of baddies concoct a mid-prison transfer ambush, hoping to make it to the Mexican border and freedom, there is usually only one guy (or small group of people) to stop them. ![]() It’s an attempt to avoid responsibility by any means necessary. For them, it’s not a question of extremes. ![]() Of course, there are the other ends of the escape spectrum where the wicked and evil try to avoid paying for their crimes through violence and mayhem. It’s about recognizing that, beyond the basics, we all have the mantle to survive, we just don’t know it until the time comes to truly test it. It’s almost always a question of resolve, of making peace with who we are while pushing our otherwise untapped talents to their very, very limits. Perhaps no single sequence in a movie maximizes the strength of the human spirit better than an escape.
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