“We all have our devils, my dear.” Roger Corman's Exploitation Era in the Philippines
In the early 1970s, Roger Corman discovered he could stretch his production dollars further by filming in the Philippines. He partnered with established Filipino director Gerardo de Leon, known for his award-winning films and work in the Filipino film industry since 1938. Despite de Leon's prestigious background, Corman convinced him to direct Women in Cages, though de Leon would later distance himself from exploitation films. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about Women in Cages.
Breaking Free from Prison Film Conventions
Pete and Andy engage in a spirited debate about the merits of Women in Cages, with Andy finding more depth than expected while Pete struggles with its exploitation elements. The film follows Jeff, a naive American woman framed by her drug-dealing boyfriend and imprisoned in a corrupt facility run by a sadistic guard played by Pam Grier. Through their discussion, they explore how the film attempts to balance serious themes with exploitation requirements.
Deeper Themes Behind Prison Bars
Strong performance by Pam Grier as Alabama, the complex and ruthless prison guard
Examination of power dynamics and corruption within the prison system, though Pete questions if these themes truly land
Controversial portrayal of violence and nudity that divides our hosts
Noteworthy ending that leaves a lasting impact about women trapped in cycles of abuse
Discussion of de Leon's reluctant participation in exploitation cinema
Analysis of how the film handles themes of sexual exploitation and systemic corruption
Classic Corman cost-cutting: Film set in a Spanish-speaking country but shot in the Philippines
While Pete finds the film's exploitation elements overwhelming, distracting, and worst of all—boring, Andy appreciates its attempts to tackle deeper themes about women trapped in various forms of imprisonment. Whether viewing it as pure exploitation or something more substantial, Women in Cages represents an interesting chapter in Corman's production history and de Leon's career. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus content, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
Chapters
Welcome to The Next Reel • Women in Cages
Initial Thoughts
Pete’s Expectations
Andy’s Response
“We all have our devils, my dear.” Roger Corman's Exploitation Era in the Philippines
In the early 1970s, Roger Corman discovered he could stretch his production dollars further by filming in the Philippines. He partnered with established Filipino director Gerardo de Leon, known for his award-winning films and work in the Filipino film industry since 1938. Despite de Leon's prestigious background, Corman convinced him to direct Women in Cages, though de Leon would later distance himself from exploitation films. Join us – Pete Wright and Andy Nelson – as we continue our member bonus Roger Corman series with a conversation about Women in Cages.
Breaking Free from Prison Film Conventions
Pete and Andy engage in a spirited debate about the merits of Women in Cages, with Andy finding more depth than expected while Pete struggles with its exploitation elements. The film follows Jeff, a naive American woman framed by her drug-dealing boyfriend and imprisoned in a corrupt facility run by a sadistic guard played by Pam Grier. Through their discussion, they explore how the film attempts to balance serious themes with exploitation requirements.
Deeper Themes Behind Prison Bars
Strong performance by Pam Grier as Alabama, the complex and ruthless prison guard
Examination of power dynamics and corruption within the prison system, though Pete questions if these themes truly land
Controversial portrayal of violence and nudity that divides our hosts
Noteworthy ending that leaves a lasting impact about women trapped in cycles of abuse
Discussion of de Leon's reluctant participation in exploitation cinema
Analysis of how the film handles themes of sexual exploitation and systemic corruption
Classic Corman cost-cutting: Film set in a Spanish-speaking country but shot in the Philippines
While Pete finds the film's exploitation elements overwhelming, distracting, and worst of all—boring, Andy appreciates its attempts to tackle deeper themes about women trapped in various forms of imprisonment. Whether viewing it as pure exploitation or something more substantial, Women in Cages represents an interesting chapter in Corman's production history and de Leon's career. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
This is a member bonus episode. We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus content, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.
Creators & Guests
Host
Andy Nelson
With over 25 years of experience in film, television, and commercial production, Andy has cultivated an enduring passion for storytelling in all its forms. His enthusiasm for the craft began in his youth when he and his friends started making their own movies in grade school. After studying film at the University of Colorado Boulder, Andy wrote, directed, and produced several short films while also producing indie features like Netherbeast Incorporated and Ambush at Dark Canyon. Andy has been on the production team for award-winning documentaries such as The Imposter and The Joe Show, as well as TV shows like Investigation Discovery’s Deadly Dentists and Nat Geo’s Inside the Hunt for the Boston Bombers. Over a decade ago, he started podcasting with Pete and immediately embraced the medium. Now, as a partner at TruStory FM, Andy looks forward to more storytelling through their wide variety of shows. Throughout his career, Andy has passed on his knowledge by teaching young minds the crafts of screenwriting, producing, editing, and podcasting. Outside of work, Andy is a family man who enjoys a good martini, a cold beer, a nice cup o’ joe. And always, of course, a great movie.
Host
Pete Wright
#Movies, #ADHD, & #Podcasting • Co-founder @trustory.fm🎥 The Next Reel Family of #Film Podcasts @thenextreel.com🎙️ Taking Control: The ADHD Podcast @takecontroladhd.com📖 Co-author of Unapologetically ADHD • https://unapologeticallyadhdbook.com
What is The Next Reel Film Podcast?
A show about movies and how they connect.
We love movies. We’ve been talking about them, one movie a week, since 2011. It’s a lot of movies, that’s true, but we’re passionate about origins and performance, directors and actors, themes and genres, and so much more. So join the community, and let’s hear about your favorite movies, too.
When the movie ends, our conversation begins.
Pete Wright:
I'm Pete Wright.
Andy Nelson:
And I'm Andy Nelson.
Pete Wright:
Welcome to the next reel. When the movie ends
Andy Nelson:
Our conversation begins.
Pete Wright:
Women in cages is over. This game is called survival. Let's see how well you can play it. I was strung out behind smack at 10 and worked the streets when I was 12. You've got long way to go.
Trailer:
Meet the dirty dolls of Devil's Island. Women in cages, the sensational new motion picture that rips the veil off the dirtiest racket ever conceived by the minds of vicious men.
Trailer:
No one escapes from my prison. No one.
Trailer:
Women in cages, starring Judy Brown, Pam Grier, Roberta Collins, Jennifer Gann, and many, many others. Innocent young girls held in cruel bondage. You will meet them all in women in cages in color rated r.
Pete Wright:
Alright. I'd like to know exactly who voted for me to watch this movie. Because why we need to
Andy Nelson:
have Probably you.
Pete Wright:
Probably you I may I may be on that list. I'm not above it.
Andy Nelson:
I I always find it interesting. You come I swear, you come into each of these so hot, like you're offended that somebody picked a Roger Corman movie for you to watch.
Pete Wright:
Goddamn it. Goddamn it. That's where we are. This is we're gonna talk about women in cages, which is a film that asks an important question. What if we took all of the worst parts of human suffering and made them aggressively boring?
Pete Wright:
This is a terrible movie. It's worse than Rush. Wow. I haven't I haven't brought up Rush in a long time.
Andy Nelson:
Yeah. And I'd say you're wrong. I liked this movie quite a bit.
Pete Wright:
I know. I read your review stronger than I expected, he said. I could not believe it, but I'm so glad we agree on the substance. You didn't hear that part, dear listener. Just a minute ago, we watched the substance, and I I watched it, and I love it.
Pete Wright:
So so we're not Andy and I We're not talking about the
Andy Nelson:
substance of the film.
Pete Wright:
We're talking about the film. The movie substance. And we're still friends, but I hate this movie. I hate this movie. Okay.
Pete Wright:
Where would you like to start?
Andy Nelson:
I just I I just have to say. It's so funny. I feel like you have I I I guess I just don't understand your expectations in a series where, you know, we decided we're gonna we're gonna celebrate Roger Corman for a year, and we're gonna discuss the variety of films that he has directed or produced or executive produced. Uh-huh. And it seems like every time, you are bothered by that.
Andy Nelson:
Like, you didn't like the western that he was a part of. You didn't like the fact that his Poe was, not gruesome enough for you. Yeah. Funny enough. You wanted a a gruesome movie.
Andy Nelson:
I I feel like you only like Corman when he's kind of goofy silly horror. Like, my boy. Yeah. Shop of horrors. I feel like that's what you want from Corman.
Andy Nelson:
I have a feeling if we put Dinocroc on this list, you'd probably hate that too.
Pete Wright:
No. You're absolute you you know me better than that. I would love that movie.
Andy Nelson:
Well, and therein lies the
Pete Wright:
problem. I need a I need a palate cleanser. Can we put Dinocruk on the movie? Oh my goodness. Okay.
Pete Wright:
Alright. So well welcome to Women in Cages. You know, we're we're making now I these exploitation these just aren't for me. Right? These these sexploitation women in prison movies, they're just not for me.
Pete Wright:
I think they're just they're just too dumb. I feel like I feel like the movie starts. We start with Jeff, our protagonist. A woman who is so extraordinarily naive that she's framed by her drug dealing boyfriend because I I don't know. It's like the only thing worse than dating a drug dealing boyfriend is being dumb enough not to notice that you're dating a drug dealing boyfriend.
Pete Wright:
There's nothing likable about our dear protagonist, and that makes it really hard for me to feel sympathy for her. She's too dumb. And so the movie starts as dumb, and it just goes dumb from there.
Andy Nelson:
But but, Pete, Pete, may I again remind you, we're watching a Roger Corman movie. Were you expecting something more? I mean, it's exactly what is on the tin.
Pete Wright:
It's on the tin. Mean,
Andy Nelson:
that's what we're getting.
Pete Wright:
This it's it's
Andy Nelson:
not a movie.
Pete Wright:
I'll tell you the I'll tell you the problem that I have. The problem that I have is that people have hung their hats on the fact that Tarantino likes this film. And at no point does Tarantino's review say anything about the fact that our protagonist is the human equivalent of a paper towel. Like, the it's just one shot at the end of the movie. And I feel like that gives this movie a false reputation of importance that it does not deserve.
Andy Nelson:
Well, I I don't, I mean, I I can see your point. Let me just say, I understand what you're saying. I mean, it's not a great film. The writing isn't great. The performances aren't great.
Andy Nelson:
I mean, but we're getting exactly what they gave as the expectations of the film. Right? It's just what I think that they were doing. I mean, yeah. No.
Andy Nelson:
I I I think that, Jennifer Gan, who plays Jeff or Carol Jeffries as our protagonist, she is not necessarily giving a great performance here. It is kind of bland and flat, but I wasn't really expecting more than that. I like, it's about what I walked in expecting with a film like this. It's just setting us up for a chance to have a variety of different women in this prison, which, I don't know, some Latin American country, even though they shot it in The Philippines, but we'll talk about that. Yeah.
Andy Nelson:
She's she's dumb. She has a thing for Rudy who sets her up, and she has no clue that, like, not only is he a big drug dealer, but he also runs a ship full of prostitutes. The the Zulu queen, is that what the ship was?
Pete Wright:
Yeah. I think it is. Yeah.
Andy Nelson:
Like, so he has this this he's like this major major player, and she has zero clue that he's involved in any of this. And then, yeah, he sets her up to take the fall with the drugs when he, realizes the cops are on his tail. And that sets us up. That puts her in prison. That sets up some tension between the inmates because one of the inmates is a heroin addict, addicted by Rudy's people, who now have said, we'll give you your next hit, but you have to kill Jeff.
Andy Nelson:
You have to, you know, kill her because we don't want her to be swayed and testify. Meanwhile, the cops talk to, Sandy, I believe, and say, get to know her because we want her to testify. So you've got these two different forces coming in trying to sway Jeff, or one of them is trying to sway Jeff. One of them is trying to kill Jeff. Meanwhile, you have Pam Greer, who is an American who's decided to get out of racist America and go go go to whatever country this is and become a a prison guard, where she's like the head matron of this facility, and is a pretty sadistic, angry person who is ready to torture them at the slightest the slightest moment, the slightest thing that bothers her.
Andy Nelson:
And so, you know, we're setting up some interesting characters, I think. It's again, I'm not saying, like, when I say things like that, I'm not putting it up to, like, lords of Arabia levels or something like that. I'm just saying in the scope of what they're giving me and what my expectations are, they they set up an interesting enough story. I enjoy what the characters are doing, and I still say that this film took some of the things, especially, like, as we get get to that last shot, which you mentioned Tarantino calling out as, you know, one that he found powerful. Like I said, it's one of devastating despair.
Andy Nelson:
It is. It's a great final shot that really kind of sells you on the trap that many innocent people likely fall into in this film or in real life. And this holds true in the seventies. This holds true today. People fall fall for somebody who puts them into a way of life that then they can no longer get out of, whether it's prostitution, drug addiction, all of the above.
Andy Nelson:
And I I think that this is don't know. It painted an interesting picture for me of some realities, some pretty terrifying and harsh realities in this sort of situation. Alright, my dear listeners. You have just heard a taste of the heated debate between Pete and me about Jerry De Leon's provocative film, Women in Cages. While Pete found the movie dull and unable to break free from its exploitative chains, I appreciated what it achieved within the confines of its genre.
Andy Nelson:
If our lively discussion has left you yearning for more and you're eager to hear the full unabridged conversation, consider busting out of your everyday routine and joining the next real family at truestory.fm/join. As a member, you'll gain access to the complete ad free version of the women in cages episode along with a treasure trove of bonus content across all our film podcasts. The next real, the film board, sitting in the dark, movies we like, and CinemaScope. Each month, you'll have the power to influence the direction of our bonus episodes with your votes in our vibrant Discord community. It's a space where film enthusiasts like you gather to delve into the art and craft of cinema.
Andy Nelson:
And as a member, your voice will be a key player in shaping the conversation. You'll also unlock exclusive pre and post show content that takes you even deeper into the films we discuss. From behind the scenes secrets to thought provoking analysis, you'll be part of a community that loves to explore the hidden depths and broader context of the movies we watch. So if you're ready to join Pete and me on this wild cinematic prison break and uncover all of our thoughts on Women in Cages, head over to truestory.fm/join and become part of our film loving gang. That's trust0ry.fm/join.
Andy Nelson:
For just $5 a month or $55 a year, you'll gain access to a world of engaging discussions, exclusive content, and a community of like minded individuals who share your passion for film. Don't miss out on this opportunity to explore Women in Cages and countless other films that challenge conventions and push the boundaries of storytelling. Join us at truestory.fm/join, and let's continue this fascinating conversation together. Until next time.
