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Word on the street has it that ever-savvy producer Roger Corman let talented director Jack Hill loose in the Philippines (where filming is cheap) to make a trashy women-in-prison movie. The result, The Big Doll House, not only had problems with the ratings board, but reportedly shocked even the hardened Corman, with scenes such as a body cavity search, basement sadism, and an “inspection scene,” none of which Corman was quite expecting. However, it’s difficult if not impossible to take such exploitation seriously. While Judy Brown is the nominal star as the “new girl on the block,” Pam Grier (in her first role following a stint as a New World office professional) clearly rules the roost as Grear (a coincidence of the script). She sings the title song, “Long-time Woman,” tells a cellmate to “Move, dummy!”, and in her role as a lesbian prostitute rants against men: “You’re rotten, Harry. You know why? ‘Cause you’re a man. All men are filthy…” The ever-reliable Sid Haig sells food to the prisoners and smuggles letters in exchange for “favors.” The villainy is shared by Kathryn Loder (who bears a more than passing resemblance to Barbara Steele) as a nasty matron, and Christina Schmidter as the evil warden. We get the requisite shower scene and a great catfight between Grier and Roberta Collins in a muddy sugar-cane field, but there are also scenes of home-style heroin injection, a food fight, fire hose discipline, cockroach racing (!), and male rape (“Get it up, or I’ll cut it off!”—now there’s an ultimatum if I’ve ever heard one!) Of course it all leads to a violent breakout sequence (I doubt that’s a spoiler for anyone with even a passing familiarity with the genre.) Strangely and unfortunately, this print uses a final line of dialogue that was dubbed for TV prints and which vitiates everything that has happened previously.