Watch Female Prisoner Scorpion: #701's Grudge Song For Free

Just perfect...

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

By the time the dramatic fireworks start popping off, each one feels earned.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Grudge Song is the fourth film in the series. Still starring the amazing Meiko Kaji as Matsu a.k.a Sasori (Scorpion) but with a different director. Yasuharu Hasebe is no stranger in the Japanese exploitation bizz, but it's still hard to follow up such a brilliant director such as Shunya Ito after three incredible films. Was he the right man for the job, or should they've stuck to three parts?Very much like the third film it all goes down in an urban environment, staying clear from prison until the last part. It's the fugitive story line you'd come to expect by now. You can't detain Sasori forever, so escaping becomes a big part of the action yet again. She's facing dead sentence, forcing her to do whatever it takes to stay clear from the authority.It's as entertaining as the first films but the cinematography wasn't as eye-catching. It's all in comparison, since it's still a gorgeous film and there are tons of nicely shot sequences. Just not as good as the first three. It's not easy to dodge the repetitive bullet, not for Hasebe and not for me as I'm writing about the same series for the fourth time in a row.Should I once again explain how Meiko's acting influences the impact of the film, how she's the one who keeps you on the edge of you seat and so on? Her quality acting is not something that just vanishes, so success was guaranteed on this part. The entire cat and mouse game remains intriguing because of her presence, the love and hatred can be felt from both sides.A nice addition to the final part are the female wardens. They have a different attitude which makes it interesting to revisit this setting. Here we see some of the better scenes, mainly when she escapes once again. Bringing forth some of the best looking shots with those familiar painted backgrounds and enchanting music.I'll be remembering her song of vengeance for quite some time, that's for sure. I'll place a youtube video on the bottom for everyone to listen to. It's a fantastic film but it didn't have the same effect as Ito's Scorpion films had. A rewarding final, even though I still crave for more Meiko action. Lady Snowblood...here I come!

After narrowly escaping brutal Detective Kodama Sasori hides out in a seedy strip joint in the back streets of Tokyo.There she encounters Kudo who was humiliated and tortured by Kodama and his cronies years ago.The two strike a bond and soon set out to exact Kudo's long dreamt-about justice against detective Kodama.But their plan is not going to end happily."Female Convict Scorpion Grudge Song" is filled with sadness and unrelenting nihilism.Yasuharu Hasebe,the creator of violent pink sub-genre directs with a sure hand and Mejko Kaji is fantastic as a relentless Sasori.She even kills a cop with a white rose.There is also sleazy gang-rape scene and plenty of nudity.If you enjoyed previous installments of "Scorpion" pinky violence series give this one a look.8 out of 10.

More than practically every film I've seen before in my life, "Grudge Song" emphasizes the essentialness of one certain director linked to a cinematic franchise. Shunya Ito directed the first three installments of the ""Female Prisoner: Scorpion" series and they were simply phenomenal and pretty much flawless. For this fourth entry, Yasuharu Hasabe took place in the director's seat and promptly the narrative ingenuity as well as the stylish characteristics notably lowered in quality. By no means I intend to claim that "Grudge Song" is a bad film – far from it, as you can derive from the rating I've given – but it nearly isn't as breathtakingly awesome as the previous ones. But in all honesty, Hasabe can't be blamed entirely, as he actually just remained faithful to his own personalized style and filming methods. This man also directed uncompromising and vastly outrageous Cat-III movies with delicious sounding titles such as "Rape! The 13th Hour", "Assault: Jack the Ripper" and even "Stray Cat Rock: Sex Hunter", so you honestly can't expect this man to alter his style towards a more elegant and suggestive type of exploitation cinema. The fourth film is much sleazier and straightforward, with less likable character drawings and visually dazzling gimmicks. Hasabe obviously didn't care too much for the complexities of part three ("Beast Stable") or the deliriousness of part two ("Jailhouse 41") and returned to the gritty in-your-face mentality of the original. The script is largely a re-run of familiar themes. Nami is still a fugitive from the law and she has yet another relentless copper obsessively chasing her. She finds shelter, and even affection, in the arms of a porno theater employee who still has an old score to settle with the police. But when he get captured by the police and brutally interrogated, he betrays Nami's hideout place. Back in prison our heroine picks up her old habits of causing riots, manipulating personnel and fellow inmates and – of course – attempting to escape from the hangman's rope. "Grudge Song" is definitely still a good movie, far superior to the majority of contemporary exploitation movies for sure, but a weaker entry in the series. The plot only offers few surprises and Nami suddenly transformed into a genuine antagonist to the audience as well. You always sympathized with her before, but here she commits a handful of crimes that can't possibly be justified. She also talks a little more in this film, and her silence was part of her charming personality in the other installments. Talking in terms of visual decoration, "Grudge Song" is fairly mediocre with only a couple of noteworthy highlights (like the truly menacing POV-shots of the noose in the middle of the prison's yard). This film also immediately marked the end of the "official" Female Scorpion cycle. The successors, appropriately entitled NEW Female Prisoner, don't star Meiko Kaji in the title role any longer and aren't directed by any of the above-mentioned directors. I'm curious about the remaining two films (which I own in a fancy box set), but I'm keeping the expectations rather low just to be sure.

The great Yasuharu Hasebe carries the torch he burnt at Nikkatsu to Toei's "Female Convict Scorpion - Grudge Song", and the result is a very different Scorpion film that still manages to mythologize our beautiful heroine, Nami Matsushuima (Meiko Kaji). Hasebe's penchant for rape, perverse sexuality, torture and jazz scoring serves the plot of this entry very well, as does his fondness for hand-held camera-work. A porno theater projectionist, who has tangled with the police before, gives Nami safe harbor when she finds herself on the lam once again. A sexual relationship based on shared misery brings the two outsiders together, but when the projectionist is captured and tortured, he gives up Nami's hiding place and she is returned to jail after an exciting shoot-out. If you know Hasebe's work, you'll enjoy various sequences that would later be mirrored in the director's "Assault Jack The Ripper" (the body in the elevator shaft at the end) and "Raping!" (the rape of the prison warden by the police, and the erotic acts performed in mirrors). Hasebe's Scorpion is a looser, less surreal piece of work, but it is, nonetheless, a wonderful achievement. The finale, set in the wilderness against a baked, orange sky, is great cinema, as is the emotional conclusion where Nami's achingly beautiful theme song is reprised. As usual, the director's passion for jazz-fueled visuals is well served by composer Hajime Kaburagi's sensational score, which also detours into some of the most surreal territory yet trodden in a Scorpion film. Some say this is the weakest of the series; "some" just don't appreciate sleaze as art.