“Jailhouse Wardress” now on Blu-ray!
After the fall of the Nazi Reich post-World War II, one of the more cruel SS-Officers, Muller, is dispatched to South America where he establishes a women’s prison camp and appoints a likeminded, lesbian female warden with strict punitive measures if the inmates don’t fall in line and follow the rules or instruction. While Muller governs the area, disorder courses its way through the camp when a plea letter to the state, describing in detail the horrors inflicted upon the women at the camp, such as torture and private cells for sex with the inmates, is intercepted before leaving the premises. At the same time, a young, newly processed inmate, who had killed her rapist uncle in self-defense, plans a daring except. The once well-oil authoritarian sex prison quickly becomes unraveled by unruly prisoners who’ve had enough with the eternal inhumane debauchery and with the exterior assistance of Jewish liberators and assassins, freedom is all but knocking at the door.
Hot off the heels of Neon Eagle Video’s Blu-ray release of “Kill Butter Kill,” a Taiwanese rape-revenge narrative that’s been jumbled up with re-edits to engender a whole new structure, we dip into another Blu-ray remix, soaring from Asiatic East to the Western Europe with “Jailhouse Wardress,” a Alain W. Steeve hardly directed women-in-prison schlocker pieced together from three earlier Nazisploitation and caged-women exploitation features with barely any new footage used a binding agent to construct a concentrated concentration camp plot. Steeve, a pseudo-surname for Alain Deruelle, a pornographic director who did helm “Cannibal Terror” under the name Alain Thierry, hodge-podges a new sordid camp exploitation picture out of already near the bottom-of-the-barrel features that sparked very little lewd cheekiness of sleazy Nazi oppression and the perversities of a hard labor with hard bodies in a women’s prison camp. France’s Eurociné is listed as the production company but unsure if there was any company backing or shooting the new spliced-in footage since Eurociné outfitted the trio of features used to make up more than half of “Jailhouse Wardress;” these films included “Barbed Wire Dolls,” “Last Train for Hitler,” and “Elsa Fraulein SS.”
Unlike “Kill Butterfly Kill,” much of the new material shot for “Jailhouse Wardress” incorporate different actors into already established roles of the component films and with the scenes going back and forth between new and archive footage, keeping up with a fluent narrative is more difficult than said. For instance, two different actors play Nestor; Germany’s Eric Falk (“Blue Rita”) footage from sparingly used from the “Barbed Wire Dolls” and most of Nestor’s scenes lie with X-rated and softcore French actor Didier Aubriot (“Naked Lovers,” “They Do Everything”) barking the orders and taking what he wants from the freshly instilled and scantily uniformed actresses inside the cages with Pamela Stanford (“Blue Rita”) and Nadine Pascal (“Zombie Lake”). You can tell their scenes are newer, fresher, with more color emitting from a different film stock and camera combination compared to the brief, desaturated appearing scenes of Eric Falk who never touches the women prisoners in Beni Cardoso (“Scalps”), Lina Romay (“Female Vampire”), and Martine Stedil (“Marquise de Sade”) who bare a lot of undercarriage bush as a gratuitous rite of exploitation culture. Much is lost not only in a re-dubbed soundtrack of the source films but what’s also lost heavily are the character attributes that left behind from the original films, such as the prison director’s (Monica Swinn, “Love Camp”) brutish lesbian demeanor with “Last Train for Hitler’s” Ingrid Schüler. This type of devolving reshapes the characters for worst, takes away much of their cruelty and passes it along to predominantly to the newer footage of Teresa and Lola at the naked mercy of the newer Nestor. “Jailhouse Wardress” fills out the archive and new footage German, French, and English nationals cast with Eugénie Laborde, Bob Asklöf, Michel Charrel, Peggy Markoff, Paul Muller, Sylvie Darty, Ronald Curram, Maria Cavour, and the archive presence of Jess Franco in a normal camera speed slow-motion flashback death scene as Uncle Jess in this particular feature.
“Jailhouse Wardress’s” old, new, or however you wish or feel compelled to describe the mismatched footage ultimately compromises the plot by the cut-and-paste hack job. A slight attempt can be seen made to align new and old footage for sequence editing but without a seamless grading and more similar costuming, the events never feel in the same space, creating more a schism between the two material footages rather unifying for a common narrative. Subplots, such as the imposter prison doctor or the Jewish hit on the Governor, are more prominent than the actual foundational plot so there’s a hindrance of uncertainty to what should be the main premise, including the Nazi angle that seems to vanish without much of a fuss, and the brain works in overtime trying to follow one scheme to then have to jump to another without traversing that pivotal straight line that connects the dots, leading to a complete mental shutdown due to exhaustion and confusion. What doesn’t help matters is the arterial lifeforce, the purposeful exhibition of exploitation, the whole reason why we watch through our subconscious sadistic eyes women become slaves to ruthless perverts, is severely castrated on a couple’s sexploitation scale. Much of what is shown is solo work; women lying in bed bottomless or are stripped nude for only a few moments of touching or taking by force without much of a fight.
The ”Jailhouse Wardress” receives the high-definition Blu-ray treatment from our friends at MVD Visual as part of their MVD Classics label. The AVC encoded, 1080p, BD25 suits the patchwork Alain Deruelle (and Jess Franco in archive footage only) feature. While the 2K scan looks pretty darn good for a schlocky eurotrash pastiche, the print used is a gut-punch to videophiles hard-pressed on image quality and preservation. Presented in a more consolidated pixel count of 1.42 aspect ratio, the print, or at least the “Barbed Wire Dolls” was originally in the European aspect ratio of 1.66:1 as you can see the letterboxing during the titles and they eventually expand out, stretching the image. The print is in rough shape in its spliced up format with its seam-showing different graded parts that creates a back-and-forth inconsistency. “Barbed Wire Dolls” is shades darker, grittier, and less definable than inserted shoots. There’s an abundance of print damage too from frame damage to vertical scratches, mostly early into the runtime. With the inconsistent picture quality, grain never looks healthy as the amount fluctuates and, often times, becomes more an interference of higher contrast exposure in darker portions. Both audio options are in an uncompressed PCM 2.0 mono format and you listen in with dubbed English or in the combined original and dubbed French. Not the flawless audio to ever come across but neither is the worst but what’s inlaid is untouched mix that contains all the hissing, crackles, and pops that blight the audio thread. Yet, dialogue remains intelligible, thanks mainly to the dub work I suppose, but if you don’t mind Pamela Stanford’s sounding like Smeagol than this audio dub is for you. English subtitles are optionally available and they synch well enough with a couple of grammatical errors. The theatrical trailer for “Jailhouse Wardress” is the only direct bonus content available with other eurotrash trailers accompanying. The packaging is quite eye-catching of an illustrated Nazi-patronized burlesque show front cover inside the traditional Blu-ray Amaray case. The back cover has the more confounding composite artwork with still captures from neither of the films used and stock image marketing that have little or nothing to do with the film itself. Inside content is barebones with the BD25 disc stamped with the same front cover art. The Blu-ray comes not rated, region free, and has a merciful 75-minute runtime.
Last Rites: Exploitation fans will find “Jailhouse Wardress” lacking that je ne sais quoi. The interlocking of multiple prints is like unwelcome visible scar tissue, glad it’s there to heal the wound but unsightly to look at. As for filling in one’s gap in the Naziploitation and Women-in-Prison collection, “Jailhouse Wardress” isn’t a must-have main ingredient for the diehard fans but for an aficionado completist, MVD supplies the goods with a Hi-Def option.
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