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Tropical Inferno (1978)

Frauen für Zellenblock 9 (original title)
Not Rated | | Action, Crime, Drama | 17 March 1978 (West Germany)
Somewhere in the jungles of South America mercenaries stop a truck which has allegedly loaded fruit. The cargo turns out to be six young women. Apprehended and handed over to the custody of the local women's prison.

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(as Jess Franco)

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Cast

Credited cast:
...
Karine
...
Dr. Milton
...
Maria
Aida Gouveia ...
Aida Moret
Esther Studer ...
Barbara
Rest of cast listed alphabetically:
Cesar Anahory ...
Guard
Dora Doll ...
Loba
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Storyline

Somewhere in the jungles of South America mercenaries stop a truck which has allegedly loaded fruit. The cargo turns out to be six young women. Apprehended and handed over to the custody of the local women's prison.

Plot Summary | Add Synopsis

Genres:

Action | Crime | Drama | Horror

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

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Release Date:

17 March 1978 (West Germany)  »

Also Known As:

Tropical Inferno  »

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The film was rejected for a DVD certificate in February 2004 in the United Kingdom by the BBFC over sexual violence being eroticized, and indecent images of an under-eighteen (in Britain, indecent images of children are illegal). The BBFC website has this to say regarding the film: This work was rejected. Dubbed,Widescreen,Under the Video Recordings Act 1984,the Board is required to consider any harmful effect that a video work may have upon potential viewers or,through their behaviour,to society by the manner in which it deals with (amongst other things) violent behaviour,horrific behaviour and human sexual activity. Women in Cellblock 9 contains many sequences depicting the abuse,torture and humiliation of naked women. These sequences were found to be in conflict with the Board's published classification guidelines,which prohibit scenes that eroticise or endorse sexual assault. The Board's strict stance on titillatory sexual violence is supported both by public opinion and by a large body of media effects research. In addition,The Protection of Children Act,as amended by the Sexual Offences Act 2003,makes the distribution and showing of indecent photographs of a child under the age of 18 a criminal offence. One of the lead actresses in Women in Cellblock 9 was just over 16 at the time the film was made. The Board was in no doubt that many of the sexualised scenes involving her would therefore be illegal. Although the amendment will not take effect until May 2004,the BBFC cannot classify material which would be in circulation in breach of the Act. The Board considered the option of cutting the work. However,the quantity of scenes involving eroticised sexual violence,combined with the indecent photographs of a person under 18,meant that cuts were not a viable option. See more »

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User Reviews

 
'Most of the men I've done this to are now homosexuals'
5 June 2011 | by (Canada) – See all my reviews

** Franco WIP again, though probably the softest of his excursion into caged women territory, Barbed Wire Dolls & Ilsa: Absolute Power especially being far crueler in their low budget visions of iron bar hotels for femmes. Still it's amazingly sleazy even for exploitation hell, where women spend ALL their time undressed & in a constant state of humiliation, a sheen of sweat adorning their nubile bodies, in a fast dash through the jungle or chained like dogs to a wall. It's strangely asexual but that pervy kink is always present, like the feeling you used to get sneaking downstairs to catch a late night baby blue while your parents were sleeping soundly. Naked women, power dynamics, sadism? No surprise this sub-genre found a kindred spirit in the likes of our director, zooming in on hairy crotches & pained-racked faces every chance he gets. Pulp adventure magazines filtered through the anything- goes 70's: that's Franco & it's genuinely unnerving because you can almost feel him getting off in staging these sick fantasies of submission & control. There's no budget to provide a slick sheen of commercialism, no blunt to the impact & its not like he's ever been very aesthetically formal either (to say the least).Its that jazz-riff quality that makes him invigorating & exotic for all his movies' awfulness, but also pervy-uncle creepy too; you don't have to look further than the bag-over-the-head bit from Ilsa to see what I mean, or the strapped-to-the-electrified bed, pi$$-in-the-chamber-pot from Barbed Wire Dolls. These are some dank psycho-sexual depths right here.

Again it's all lovably rinky-dink, paint blots for bullet wounds, sound effects for gunshots, Howard Vernon for depth. Its power derives from extremity, stark female objectification you don't see much outside of XXX. The women are denied even the dignity of clothing while at the whim of their evil keepers & its that kind of porno rationale that makes you envision Franco pissing himself happy staging these adolescent jerk-off skits, leaning over to fondle dear Linay while operating the camera. There's a weird kind of dedication here you won't see in the average impersonal WIP, something that lends a certain weight when usually these flicks are forgotten the moment you see them.

Otherwise the three or four women were all lovely to watch (Karine Gambier is so ethereal albino white she glows) & provided more of a presence than the usual non-Romay joint musters, adorable Susan Hemingway especially. I cared a bit more about what happened to this one dimensional lot & so the ending was very depressing but par for course.


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