Matsu, known to the prisoners as Scorpion, is locked away in the bowels of the prison as revenge for disrupting the smooth operation of the prison and for her disfiguring attack on the warden. Granted a one day reprieve due to the visit of a dignitary, she takes advantage and attacks the warden again. This leads to more brutal punishment and humiliation. But the punishment gives her an opportunity to escape along with six other female prisoners.
Jasper Sharp notes that while the 1970s were full of women in prison films all around the world, the Scorpion films were "far better made and far less exploitative, and adopting an almost fantastical approach to the material". He also notes that this second part, interestingly enough, spends a great deal of time outside of the prison.
There is is a definite shift from the first film. We still get a sense of color, letting us know the director actually cared. But we also have the exploitation angle toned down a bit. If you're counting the naked bodies, you will notice they have decreased sharply this time around. Whether that makes this a better film is open to debate, but it indicates the people involved believed they had something to sell besides naked bodies.
Jasper Sharp notes that while the 1970s were full of women in prison films all around the world, the Scorpion films were "far better made and far less exploitative, and adopting an almost fantastical approach to the material". He also notes that this second part, interestingly enough, spends a great deal of time outside of the prison.
There is is a definite shift from the first film. We still get a sense of color, letting us know the director actually cared. But we also have the exploitation angle toned down a bit. If you're counting the naked bodies, you will notice they have decreased sharply this time around. Whether that makes this a better film is open to debate, but it indicates the people involved believed they had something to sell besides naked bodies.