director Shunya Itō
I started Female Convict Scorpion: Beast Stable, not really knowing what I was in for. But before it was over, I was regretting not having watched the series in order. Also, I think for the first time in ages, I was in love…with a movie.
It’s not that you have to watch the films in order, but director Shunya Itō’s trilogy, pumped out in quick succession is itself a triptych of pulp mania and psychedelic surrealism, each unique on its own.
Beast Stable opens with the gorgeous Meiko Kaji stalked on a subway, escapes by hacking off an arresting officer’s arm and running for it, arm dangling from her handcuffs. She later uses a tombstone to carve through the chain, spotted by a prostitute turning a trick nearby.
The camerawork and cinematography are lurid, alive and vividly inventive, pulsing with Bava-esque colors. Perversity and revenge are everywhere, fulfilled by Nami Matsushima, the Scorpion. Takashi Miike, eat your heart out. This is sublime pulp Grand Guignol pop art.
The soundtrack is also incredible. I was so enraptured, I had to immediately go to the first film, Female Prisoner 701: Scorpion, to see more of what I’d been missing.