“My name is Emanuelle, and I’m a woman. Even in here I’m free to be a woman.”
Emanuelle (Laura Gemser) during her opening monologue in the amazing “Women’s Prison Massacre.”

This trash classic from prolific Italian director Bruno Mattei (Night of the Zombies, Guardian of Hell) was the last in a successful string of Black Emanuelle movies. The Black Emanuelle series appropriated the name of the successful X-rated hit Emmanuelle (with two m’s) and basically took a detour down exploitation alley. Far removed from the soft focus sexual shenanigans of the Sylvia Krystal vehicle, her European doppelganger encountered all manner of grindhouse scenarios. White slavery, cannibalism, prostitution and the ever-popular caged women all figured into her non-related narratives. Played by the beautiful Laura Gemser, the one-m’d version of the sex goddess would venture through various indignities; always managing a modicum of grace and style regardless of the situation. In addition to being the last outing for this unlikely heroine, “Women’s Prison Massacre” aka “Blade Violent” was also one of the last great grind house movies to grace theaters before the video revolution. Made back-to-back with the similar, though less intriguing “Violence in a Women’s Prison,” “Massacre” is a brilliant, f*cked up cinematic experience that transcends its genre.

Reporter Emanuelle (Gemser) has been framed by a crooked district attorney and sent to a maximum security prison. Her nightmarish predicament inspires her to create a small theatrical production with two of her cellmates. Each woman gives a dramatically lit monologue that reveals their divergent backgrounds. Laura (Maria Romano) calls herself the “Mantis” and relates a life of prostitution and male resentment. Irene “the slut” (Antonella Giacomini) has a voracious appetite for sex and claims to have been with most every woman in the joint. And Emanuelle, well, she was sent to prison on trumped up charges… where she’s “still free to be a woman.” This highly stylized scene is intercut with the credits; moody medium shots of the women sitting in chairs, dramatically fading to black. It’s a great opening sequence that hints at a far more coherent (and pretentious) film than the one that proceeds. Prison lackey Albina (the amazing Ursula Flores), a nightmare in a blond wig and repugnant scowl, quickly dispels any pretentious notions by interrupting the show. She berates the women and ends up throwing a tomato into Emanuelle’s face. Emanuelle retaliates, jumping onto Albina and starting a full-on riot with the audience of inmates. Mattei goes the extra mile in this scene, equipping all of the caged women with heads of lettuce and raw vegetables to throw at the stage. After the melee the Warden (Lorraine De Selle from “Cannibal Ferox”) has a heart to heart with the new inmate. She warns Emanuelle to watch herself in one of the more clichéd WIP scenes. Later in the cafeteria, Emanuelle is challenged to an arm wrestling match with Albina. The new inmate wins, just as the sadistic guards break them up. The requisite shower scenes, complete with lesbian encounters and water torture, figure into the action. A pretense of plot has the prison administration working with DA to get rid of Emanuelle – who naturally delight in her suffering. She is systematically tortured by both the prison guards and Albina; proving to be much stronger than anyone could have imagined. Eventually Emanuelle is left out in the prison yard along with the increasingly creepy Albina. The bewigged wacko charges at her nemesis with a knife, wholly missing her target. While the resourceful Emanuelle ends up seizing the knife and stabbing her attacker in the leg.

Elsewhere in the city, a prison truck with four dangerous, desperate criminals is on the way to a men’s prison. (Desperate is used several times to describe the inner psyche of these men.) The group consists of Crazy Boy Henderson (Gabriele Tinti), Brett O’Hara (Robert Mura), Blade (a cartoonish Pierangelo Pozzato) and Geronimo (Raul Cabrera). Guarded over by policeman Harrison (Fulci favorite Carlo De Mejo), the four are taunted repeatedly about their bleak futures. A police roadblock set up by co-conspirators of the prisoners spurs a bloody gunfight and car chase. Though two of the policemen in the truck are killed, the van escapes the onslaught. Harrison takes the prisoners, on foot, to the most convenient location – the women’s prison. The corrupt warden gets a rundown on the horrific nature of their crimes while the foursome attempt to intimidate by way of three stooges mugging. Suffice it to say, these hardened criminals find a way to turn the tables and violently take over the prison. As they wait for a ransom that includes five million dollars and a getaway car, the goofy criminals act out debauched scenarios with the desperate women. Rape, dancing with sex dolls and Russian roulette all figure into the eccentric script written by Claudio Fragasso and Olivier Lefait. Other memorable set pieces include Laura (the Mantis) getting revenge against Blade by sticking a razor into her nether regions and goading him into intercourse. Her plan achieves the wanted results, but not before Blade chokes her death. His dazed wandering through the prison halls as he passes the cells of the female prisoners who pummel him bloody is classic Mattei. There’s also a great scene where Crazy Boy is greeted with a mouthful of brain matter at the climax of the Russian roulette sequence. Yum! “Massacre” is filled with wonderful bits of insane behavior, creating a fever dream reality that sets it far apart from the typical WIP drama. It’s the perfect companion to Don Edmonds’ first two equally gonzo “Ilsa” films.

“Massacre” is adored by trash film fans for several reasons, but its main claim to fame is the astonishingly absurd dubbed dialogue. Whether by mandate or happenstance, there are no overt “cuss words” used throughout the film. While “bitch” is used sporadically, most of the old favorites are strangely MIA. Instead, colorful phrases like “you haughty hottentot” are peppered throughout, giving the ensemble’s cartoon histrionics an even trippier edge. The acting in such Italian vehicles is always difficult to address. The most grounded performer here is Gemser, who always lends an air of grace to the onscreen debauchery. Most everyone else hams it up in great style, especially Pozzato (whose scenery chewing is accomplished with almost no dialogue) and Flores who creates one of the most vile villainesses in WIP history. The cinematography by Henry Frogers is a highlight of “Massacre” and not only exhibits a sense of style, but a surprising sense of humor. Capturing all the manic action in boldly framed compositions, Frogers stylistically comments on everything from Bergman to Carpenter. He’s the perfect lens for the histrionics of Mattei’s hammy cast (most of whom also appeared in “Violence in a WIP”).

The box touts this Sock-O-Rama release as a “brand new telecine from a newly discovered 35mm print.” Which basically means “we made a copy of a badly worn print that had been sitting in a vault for years.” Scratches and glaring edits are present throughout, though the image quality was relatively sharp considering the source. It is presented in widescreen, preserving Froger’s great compositions. The sound mix is no better than the picture quality, but it’s tolerable. What is truly shameful is that this value-priced DVD has been released in two different versions. An R-rated cut of “Massacre” presents a print that has almost all of the violent set pieces removed. It’s not even the R-rated version that was shown in theaters in 1983, but a butchered cut that removes all of the gonzo violence. Why bother? This version is also curiously missing the running time on the packaging. But, in a rather frustrating marketing ploy, the good folks at Shock-O-Rama provide, for a mere three dollars, an order form for the uncut version. Why they would distribute a version of “Women’s Prison Massacre” without its most shocking moments is rather perplexing. But, having viewed both cuts, the major shock is that this wonderfully bizarre movie works even sans gore. Regardless, make sure that the DVD you buy touts the uncut version (though even that is a bit of a lie). Both cuts of the film excise a portion at the end where it is stated that Emanuelle will soon be freed from the prison. Both of the Shock-O-Rama versions end with her anticlimactic jaunt back into prison! Extras include the “Massacre” trailer as well as trailers for a few other titles from the company. There are also some amusing liner notes from someone called 42nd Street Pete. Overall it’s an underwhelming release of one of the last great WIP movies ever made. But if you’re a fan of Italian sleaze, women’s prison movies or even a closet “haughty hottentot” you’re going to buy it anyway.