| Judith Brown | ... | Sandy (as Judy Brown) | |
| Roberta Collins | ... | Stoke | |
| Jennifer Gan | ... | Jeff | |
| Pam Grier | ... | Alabama | |
| Bernard Bonnin | ... | Acosta (as Bernard Bodine) | |
| Charlie Davao | ... | Rudy (as Charles Davis) | |
| Johnny Long | |||
| Holly Anders | |||
| Dwight Howard | |||
| Roberta Swift | |||
| Paul Sawyer | |||
| Jeffrey Taylor | |||
| rest of cast listed alphabetically: | |||
| Nick Cayari | ... | Lorca (uncredited) | |
| Andres Centenera | ... | Dignitary (uncredited) | |
| Marissa Delgado | ... | Juana (uncredited) | |
| Paquito Diaz | ... | Jorge (uncredited) | |
| Sofia Moran | ... | Theresa (uncredited) | |
Directed by | |||
| Gerardo de Leon | (as Gerry de Leon) | ||
Writing credits | ||
| James H. Watkins | (story) and | |
| David Osterhout | (story) (as David R. Osterhout) | |
| James H. Watkins | (screenplay) and | |
| David Osterhout | (screenplay) (as David R. Osterhout) | |
Produced by | |||
| Ben Balatbat | .... | producer | |
| Roger Corman | .... | producer (uncredited) | |
| Cirio H. Santiago | .... | producer (uncredited) | |
Cinematography by | |||
| Felipe Sacdalan | (director of photography) | ||
Film Editing by | |||
| Ben Barcelon | |||
Art Direction by | |||
| Ben Otico | |||
Makeup Department | |||
| Tony Artieda | .... | makeup artist | |
| Rey Salamat | .... | makeup artist | |
Production Management | |||
| Aurelio R. Navarro | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Ruben Rustia | .... | assistant director | |
Sound Department | |||
| Willie Arce | .... | sound recordist | |
| Demetrio de Santos | .... | sound engineer | |
| Tony Gosalvez | .... | sound effects | |
Special Effects by | |||
| Santos Hilario | .... | special effects | |
Camera and Electrical Department | |||
| Johnny Araojo | .... | camera operator (as Johnny Araujo) | |
| Edmundo Bautista | .... | camera operator | |
Costume and Wardrobe Department | |||
| Felisa Salcedo | .... | wardrobe | |
Music Department | |||
| Tito Arevalo | .... | musical director | |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
American B-film companies found in the Philippines a cheap, plentiful supply of labour and locations for their tropical drive-in sleazefests. Admittedly these exploitation films are an acquired taste and a dubious form of entertainment; however they mark an important cultural milestone as the first features where a black actress, even playing a prison moll or topless revolutionary, is given a lead role of any substance. Director Jack Hill started the eightball rolling when he shot The Big Doll House in 1971, set in a nameless Latin American prison but filmed in the Filipino jungle. Unseen in Australia since the early 70s, the film featured a mixed cast of local and American exploitation regulars, but it's remembered as the first high-profile role for the later Queen of Blaxploitation, Pam Grier.
Legend has it that Sam Arkoff, head of American International Pictures saw a statuesque Grier at his company switchboard and cast her on the spot for her breakthrough hit Coffy. That, as they say, is bull shee-it. The former beauty queen made her film debut in 1970 as an extra in Russ Meyer's big breast bonanza Beyond The Valley Of The Dolls, and appeared in a number of B-pics shot in the Philippines the following year for AiP's rival company, Roger Corman's New World Pictures. Alongside her role as the tough-as-nails prostitute in Big Doll House were supports in the horror flick The Twilight People and as a topless hooker (again!) in Cool Breeze, then back behind bars for Women In Cages.
In Women In Cages, Grier plays the sadistic warden for once, a pot-smoking lesbian with a fully-equipped torture chamber (including a guillotine!). The 'New Fish' (a recent inmate, for you prison film novices), a ditzy blonde ex-stripper called Alabama, has taken the heroin possession rap for her pimp boyfriend. She knows too much, so the pimp blackmails her cellmates to execute her. A competent and well-shot entry in the tropical prison genre from Filipino director Gerry De Leon, it places the embittered ex-addict and prostitute Grier in the position of slave owner, watching her white charges toiling away in the plantation with obvious ironic glee.