Good old Roger Corman; he never saw a film genre he didn't like. Moreover, he never hesitated to make cheap knockoffs of hit films. "Star Wars" breaking box office records? Enter Corman's "Battle Beyond the Stars." "Jurassic Park" raking in the dough? "Carnosaur" and its sequel will do quite nicely, thank you. How about films full of car chases? Those were quite popular in the 1970s, weren't they? You bet, and Corman rolled out "Eat My Dust" and "Grand Theft Auto" to capitalize on the craze. I could go on and on, mentioning how Rog saw fit to make "Big Bad Mama" to present his own take on 1930s gangster epics, or how he tossed out "Humanoids From the Deep" to cash in on a resurgence of monster films. The vaunted women in prison subgenre of the 1970s was yet another field of endeavor for this King of the B-movie rip off. Corman underwrote several of them, beginning with director Jack Hill's classic "The Big Doll House." Hill went on to make his own name in exploitation films with "Coffy" and "Foxy Brown," two movies that formed the foundation of the blaxploitation genre. Thanks to DVD, a new generation of schlock film lovers will finally see these classics.
We see "The Big Doll House" unfold through the eyes of Collier (Judy Brown), a woman convicted of murder on trumped up charges and sentenced to life in a Philippine prison. She has a tough time adjusting to her new digs at first, largely due to the tough as nail attitudes of her fellow cellmates. The tough and cynical Alcott (Roberta Collins) runs the cellblock with an iron fist, and she makes it crystal clear to Collier early on that she will not tolerate any dissension in the ranks. Of course, there is always opposition to Alcott's tyranny, usually in the form of Grear (Pam Grier), a just as tough black girl who smuggles drugs into the prison as well as acting as a stoolie for the prison authorities. Bodine (Pat Woodell) could run the entire prison if she wanted to thanks to her size and fearsome reputation, but she's one of these gals who finds contentment sitting back and avoiding prison politics. She also corresponds infrequently with her boyfriend, a revolutionary currently engaged in a struggle to overthrow the government. No discussion of the prison would be complete without mentioning the hapless Harrad (Brooke Mills), a kooky chick drifting along in a haze of heroin. Perhaps it is appropriate that the phrase "A Dead Bee Makes No Honey" is etched on the wall of the girls' cell because there is very little sweetness exhibited here.
It should go without saying that the name of the game in "The Big Doll House" is figuring out a way to escape from the prison. After the other girls finally come to accept Collier, grudgingly in a few instances, she starts agitating for a plan. No one has ever successfully fled the penitentiary, apparently, so it will take awhile to come up with a ploy that works. In the meantime, the film treats us to all sorts of sordid activities, including whippings, electroshock treatments, and poisonous cobras. We also see Grear make a play for power by wrestling Alcott in a mud pit. Other characters emerge to engage our attentions, too, such as the vicious female warden with her schemes of corruption and intrigue. Comic relief arrives in the form of a couple of guys from the outside, the most important of whom is Harry (Sid Haig), who brings supplies into the penitentiary. These two can get anything, including drugs and hard liquor, for the right price, a price most of the female inmates are unwilling to pay. If you think that most of these characters, the ones that survive anyway, will come together in the film's denouement, you would be correct. "The Big Doll House" is an often squalid film whose bleak tone carries all the way through to its downbeat conclusion.
This is the type of film that lovers of low budget cinema adore. It's got everything, from lots of beautiful '70s babes running around in prison attire to over the top violence to Sid Haig hamming it up. "The Big Doll House" also has Pam Grier, which is always a big bonus. Her acting isn't that great here, probably due to the fact that this was only her second film, but she puts enough heart into the role that the viewer quickly forgives her failings. Her scenes with Haig are particularly memorable. Hill was so impressed with Grier that he cast her in his future productions, namely the aforementioned "Coffy" and "Foxy Brown," which led to her becoming a major presence in 1970s' cult cinema. Considering how big a fan he is of these types of movies, it's no wonder that Quentin Tarentino based an entire film around the beautiful Grier, who, I might add, looks absolutely amazing today. Can you tell I'm a big Pam Grier fan? The primary reason I enjoyed this film is because Grier gets a lot of screen time. But even if you aren't a fan, you can still kick back and chuckle over the seedy set pieces, the crazy dialogue, and the wacky situations that pop up in this film every five minutes or so.
The DVD version of the film contains a commentary from Jack Hill, cast biographies, a trailer, and additional trailers for "Big Bird Cage," "The Arena," and "Women in Cages." The commentary track is rather dry, something I've found rings true for other Hill commentaries, but it does contain plenty of interesting information on the production of the film. "The Big Doll House" is arguably the best women in prison film I've seen so far; it's certainly light years ahead of films such as Pete Walker's "The House of Whipcord" and Bruno Mattei's "Violence in a Women's Prison."