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The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Having found director Pete Walker's first "House" film House of Mortal Sin to be a marvellous,daring Giallo,I began to get interested in seeing Walker take on a sub-genre that I had never seen before:Women In Prison (WIP)The plot:Attending the premiere of a naked photo that she secretly took with a photography,French model Anne-Marie Di Verney catches the attention of fellow party guest Mark E. Desade,who invites Marie to go to his "pad" so that they can continue the party alone.Driving to their destination,Di Verney's hope quickly grind to a halt,when she finds out that Mark's "pad" is actually a disused prison,which has been transformed into a "secret court" by a group of "moral guardians",who have decided to deal with indecent people in modern society,by sentencing them to death.View on the film:Despite director Pete Walker giving the disused prison a stylish low light appearance that gives the movie a good,grubby atmosphere,the first hour of David McGillivray's screenplay disappointingly drains the film of any nail biting tension,by making the ordeal that Di Verney has to face be ones that feel plodding and also lacking any sense of suspense.Along with the screenplay,the film is also not helped by the performance of Page 3 model and Sitcom star (who had also been an extra in Walker's earlier Tiffany Jones) Penny Irving as Anne Marie- Di Verney,who makes the many scenes featuring Verney ones that are extra painful to watch,due to her giving the character a chalkboard-like fake French accent.Thankfully for the last 40 minutes of the film,McGillivray and Walker break out of the prison confines to deliver a tense,wonderfully bleak,grim and gritty Thriller,as Walker (perhaps one of 70's cinema most under rated British directors?) builds upon the themes that he had started in House of Mortal Sin,by splattering all of the dreams that the "establishment" of secret courts and moral guardians have across the screen,by giving the film a strong dose of Black Comedy to show how justice is "blind",and cheekily naming one of the nastiest wardens after himself, (played by Walker's amazing collaborator Sheila Keith) as Walker shows lengths that the wardens are willing to go to,in order to create their "moral" society.

An old man that lives in an old house conducts a correctional institute for girls.Robert Firsching wrote, "Many viewers will be offended by the film's repressive right-wing tone, but its genuine scares and creepy atmosphere will outweigh its philosophical offenses for most horror fans." I guess I never noticed this right-wing tone at all. If anything, it seemed to be skewering that position. But what do I know?I have not seen many of Pete Walker's films, so I cannot put this one in context, and cannot rightly say if it is one of his better or worse films. I suppose I liked it in a general sense, though it did not hold my attention as well as I wish it would have.

A not-too-bright French girl called Anne-Marie is taken unwittingly by an odd man called Mark E. Dessart to a secret prison in the middle of the countryside. This place is a correctional institute for amoral women, and it's conditions are extremely harsh. Anne-Marie soon discovers to her horror that no inmate actually ever leaves this prison.This Pete Walker film is not your typical women in prison movie. While it certainly ticks a few boxes associated with WIP fare, it's an altogether more heavy and serious film than others of it's type. It does have nudity and S&M but neither are particularly explicit or detailed. House of Whipcord is much too downbeat in tone to operate as a straight sexploitation flick. On the contrary, it has some strong performances, good writing and capable direction. The setting for the prison itself is agreeably gloomy and is used to good effect. While the film is not afraid to end fairly nihilistically.Penny Irving isn't especially good in the central role of Anne-Marie, she is just a little too vacuous too much of the time. While Robert Tayman as Mark E. Dessart is at the very least incredibly creepy, although quite how someone who looks like this is a chick-magnet is best left unanswered. Much better are the personnel in the prison, with Sheila Keith a particular stand out. She was terrific in Walker's other 1974 film Frightmare, and here she is extremely impressive again as a scary and sadistic prison guard.There's no doubt that this is a very solid bit of Brit exploitation. It's very well made all things considered. It's just not quite what some might think it might be with a name like House of Whipcord. There's not much erotica here at all, so be aware of that. But if you appreciate your WIP films with a bit more downbeat grimness then this one could be the answer.

British Exploitation director Pete Walker is probably best known for "Frightmare" of 1974, but it is arguably the deranged and disturbing "House of Whipcord" from the same year, which enjoys the greatest cult-status among Exploitation/cult-cinema enthusiasts. As I would define myself as exactly that, I really don't know what took me so long to finally watch this film a few weeks ago, but I can assure that the film's cult-status is deserved. Even though it had been recommended by other Exploitation fans, "House Of Whipcord" surpassed my expectations, since it wasn't quite what I had expected. Having expected a typical WIP (Women In Prison) Sexploitation vehicle with lots of nudity, sleaze and maybe explicit gore, I got a film that (allthough these elements were delivered, of course), was not nearly as sleazy as I thought, but therefore a lot more shocking and genuinely disturbing.Walker begins his film with a cynical remark that it is dedicated to "...all those who are disturbed by today's lax moral codes and eagerly await the return of corporal and capital punishment...". Angered by the lax morality of modern Britain, a sadistic female warden (Barbara Wakehurst) and a senile elderly judge (Patrick Barr) have founded an extrajudicial prison for young women. Beautiful girls are lured to the old prison by the couple's son (Robert Tayman), who uses the (totally inconspicuous) alias 'Mark E. Desade'. Once lured into the building, the women are 'sentenced' to indefinite terms of imprisonment in the demented and sadistic torture-institution. Unaware to the judge, the Warden's sardonic punishments inflicted for disobedience include solitary confinement, flogging and death by hanging... The film relies a lot less on elements like nudity and sleaze than other contemporary WIP flicks. It does, however, rely on a decent plot, and is a lot more shocking and disturbing than I had imagined. Basically, the film is a criticism of reactionary views on penal system packed into a mean-spirited exploitation film. The penitentiary is a genuinely creepy setting. The performances in the villain roles are great. Especially Barbara Markham is truly despicable as the sadistic warden Mrs Wakhurst, one will hate her with a passion from the first moment she appears. Her sidekick, Warden Walker played by Sheila Keith is not less despicable, Mrs Wakehurst and Walker truly make two of the most sardonic and disgusting female characters ever in a film. Robert Tayman, whom Brit-Horror fans should know for his role of Count Mitterhaus in the brilliant Hammer film "Vampire Circus" (my personal favorite from Hammer) is sinister as always as the son, Mark E. Desade. Sexy Ann Michelle and Penny Irving provide the female eye-candy. Irving plays the main character, a French nude model who falls victim to the psychopathic moralists. Beautiful Miss Irving fits well in the role, but her French accent is ridiculous. Overall, "House Of Whipcord" is a truly recommendable piece of European Shock-cinema that lovers of Exploitation must not miss. Be aware though, that this is absolutely not for the faint-hearted. House of Whipcord easily ranks among the most disturbing and uncompromising British exploitation films of the 70s, which can be taken as a warning or a recommendation, depending on personal taste. A must-see for Exploitation-lovers.