HOUSE OF WHIPCORD
Aspect ratio: 1.75:1
Sound format: Mono
A French exchange student (Penny Irving) is lured to an old house in the English countryside where she's incarcerated by a senile old judge (Patrick Barr) and his crazy wife (Barbara Markham), who seek to punish impure young women for 'crimes against morality'.
This was British director Pete Walker's first collaboration with legendary exploitation scriptwriter David McGillivray (HOUSE OF MORTAL SIN, SATAN'S SLAVE, etc.), spawned from a pre-determined ad campaign showing a screaming, half-naked starlet framed by a hangman's noose. The result is a minor classic in which part-time * model Irving is lured into captivity by her creepy new boyfriend (Robert Tayman, from VAMPIRE CIRCUS) and imprisoned by Barr and Markham. Unwilling to take her predicament lying down, Irving plots escape with her fellow inmates and suffers all manner of indignities at the hands of cruel warder Sheila Keith and her equally depraved second-in-command (Dorothy Gordon).
Cleverly written and cheaply produced in response to an upsurge of activity by the UK's Christian Right in the wake of several controversial film releases - most notably A CLOCKWORK ORANGE, STRAW DOGS, THE DEVILS (all 1971) and LAST TANGO IN Paris (1972) - "Whipcord" opens with a now-famous dedication "...to those who are disturbed by today's lax moral codes and who eagerly await the return of corporal and capital punishment...." Though contemporary critics railed against the threadbare production values and softcore nudity, it's apparent that much of their outrage was prompted by Walker's brazen challenge to the Christian moralists, whose over-zealous rhetoric has always enjoyed a disproportionate measure of representation in the British media.
The film is deliberately crude and confrontational, with a vulnerable heroine - played as an infuriating wimp by relative newcomer Irving, sporting one of the worst French accents in movie history ("'Ow did zey bring you 'ere?") - struggling to survive against all the odds, while Markham's brutal staff indulge their deepest puritan impulses. Keith is especially good in this regard ("I'm going to make you ashamed of your body, de Vernay. I'm going to see to that... personally!"), manifesting the corrupt zeal of a True Believer with little regard for pity or compassion. The sleaze quotient is high for a British shocker of this vintage, but neither McGillivray's script nor Walker's laidback direction comes close to matching the debauched atrocities which distinguished the 'prison camp' subgenre during the 1970's and early 80s, exemplified by the likes of ILSA: SHE WOLF OF THE SS (1974) in America, BARBED WIRE DOLLS (1975) in mainland Europe, and Asian shockers like BAMBOO HOUSE OF DOLLS (1973), LOST SOULS (1980) and WAR VICTIMS (1983). Still, HOUSE OF WHIPCORD is an effective relic, and it led directly to Walker's next offering, FRIGHTMARE (1974), reuniting him with McGillivray and Keith for one of their finest collaborations to date.
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