The Arena

This is called the first women in prison flick ever made, so only for that alone it's a reason to watch it to see where it all started. But for the geeks in horror genre there's more. It was a co-production between the USA and Italie and it showed. Roger Corman was producer. The cinematography was done by Joe D'amato en the editing was in the hands of Joe Dante. All of them becoming notorious for their flicks. And if you look at the thespians, it had Pam Grier in it just coming out of Coffy (1973).

With all those famous names it should have been a fantastic flick but it's all done before their heydays and it shows even as it do has a few potentials. The story is simple but believable and of course due some catfight in the kitchen it's decided that all women who are slaves should become gladiators. Being raped and humiliated by Romans they all work together to destroy the Romans.

Don't expect big effects, there aren't any, and when stabbing takes place it's all done off-camera. Being an exploitation flick it also has a bit of nudity full frontal from the slaves. It was so typical back then around those years because porn was the big thing so nudity was a must in most of the flicks made early seventies to compete with the porn business.

Clocking in under 90 minutes makes it watchable. And it do show the use of the typical zooming in on faces or action seen in spaghetti westerns made then and Italian horrors.

If you aren't into WIP flicks then forget this but if you want to see the start of a few famous horror directors and producers then you must pick it up. It's not a good flick as I wrote earlier but a perfect example of early seventies exploitation.

Gore 0/5 Nudity 1,5/5 Effects 0/5 Story 2/5 Comedy 0/5

Steve Carver's "The Arena" aka. "Naked Warriors" of 1974 is a highly entertaining piece of 70s exploitation that should not be missed by a B-movie fan. Produced by the almighty Roger Corman, co-directed by the king of exploitation himself, Joe D'Amato, and starring the sexiest duo of 70s cult heroines, the wonderful Pam Grier and Margaret Markov, this is pure Grindhouse cinema for lovers, and should not leave anybody bored.

Abducted from their homelands and enslaved by Romans, two young women, the Nubian Mamawi (Pam Grier) and Bodicia (Margaret Markov) from the Brittany, are, along with other female slaves purchased by the Roman owner of an arena, where they are to do domestic work and serve as mistresses/sex slaves to the gladiators. After a fight at the dinner table, however, one of their unscrupulous slaveholders suggests to have the women fight for their lives in the arena, in order to offer something fresh to the blood-thirsty audiences...

Both stunningly beautiful, charismatic, sexy and cool, Pam Grier and Margaret Markov are a true dream team in exploitation cinema (something they already proved in "Black Mama, White Mama" of 1972). Apart from Grier and Markov, the cast furthermore contains Lucretia Love ("Battle Of The Amazons", "The Sexorcist") and Rosalba Neri ("Lady Frankenstein", "Johnny Yuma"). Another cool role is that of Paul Mueller, a huge, ugly and bald Tor Johnson-lookalike, who plays an invincible gladiator. I personally also found the score pretty cool, although it is certainly not too original. The sleaze and violence are not quite as extreme as in many other exploitation flicks of the kind, but there's enough of both to entertain. Being a fan of exploitation flicks (or not) is a matter of taste, of course, and "The Arena" may therefore not be everybody's type of film. I personally love this kind of films however, and I therefore recommend this to all my fellow exploitation-enthusiasts. Especially Pam-Grier fans should give it a try!

This an interesting mixture of two very different kinds of exploitation film. On one hand, it's basically a Roger Corman women-in-prison film (complete with lots of showers, catfights, and a big bust-out at the end)featuring WIP regulars Pam Greir and Margaret Markhof. On the other hand, it is an Italian "peplum" that was reputedly largely directed by its Italian cinematographer Joe D'Amato and which also stars the luscious Italian actress Rosalba Neri (aka Sarah Bay) as the villianess making her return to the peplum dramas that had made her (semi)famous in the 1960's.

As a Corman film it's not too bad. It has his usual trademark of faux feminism and gratuitous female nudity (by Grier, Markhof, and some of the other slave/prisoners)and it's very formulaic right down to the death of likable innocent(s) and the revenge plot at the end. Unfortunately, it's also a little too tame--it's certainly nowhere near as sleazy as what we've come to expect from the notorious Joe D. I was also personally disappointed at how much they wasted Neri. Not only does she not get naked (a lesbian scene with her and Grier or Markhof would certainly have been memorable), but as a villain she comes off kind of bland--not nearly what she showed she's capable of in films like "Amuck", "Top Sensation", and "Lady Frankenstein".

I guess whether you like this or not will depend on whether you're more of a Corman and Grier fan (in which case it's pretty OK) or whether you're a D'Amato and Neri fan (in which case you'll probably be a little disappointed).

A rare collaboration between U.S. and Italian exploitation exponents and the result is not all that bad either: director Carver, executive producer Roger Corman, producer Mark Damon, editor Joe Dante (I wonder whether these last 2 mentioned reminisced about it at the 2004 Venice Film Festival where I saw them both at the screening of Vittorio Cottafavi's THE HUNDRED HORSEMEN {1964}!) and co-star Pam Grier on one side, and cinematographer Joe D'Amato, composer Francesco De Masi and supporting actors Paul Muller and Rosalba Neri on the other. The film supplies a novelty to the Roman gladiator subgenre – which had seen service in many an Italian and Hollywood spectacular during the Golden Age of such fare, and would of course be revived with the Malta-shot GLADIATOR (2000) – by presenting us female combatants: in this respect, it recalls the contemporaneous "Amazon Women" flicks (and the girls here are even addressed as such at one point!) also emanating from Italy.

The plot starts off with a number of them (including statuesque blonde Margaret Markov and buxomy black Grier – the two had actually already appeared together in BLACK MAMA, WHITE MAMA {1973; which I also own but have yet to watch} and, for the record, the former would marry Damon and retire from acting not long afterwards!) from different tribes being separately captured and sold as slaves to work for the Romans at the arena, under the supervision of Neri. Muller, then, is a politician who, as if taking a leaf from any of the Jess Franco movies he had appeared in, rapes Markov in front of his peers as a demonstration of his power! As befits its pedigree, the film is filled with wall-to-wall violence and nudity (much of it gratuitous) but also other potentially tasteless ingredients – but who can carp when everything is clearly done in fun? – such as the presence of a sissy overseer.

At first, the girls are made to offer comfort to the male combatants the night before the latter are "about to die" – but, when they break into a veritable catfight in the kitchen, the flustered organizer of the bouts suddenly sees a ray of light in order to inject new blood (no pun intended) into the worn-out formula! Soon, the women (one of whom, annoyingly, is shown to be perennially drunk) begin to realize that someday they may have to kill each other: Grier is the first to have to make this difficult choice but only after her hesitation causes an archer to shoot an arrow and wound her (the result of her not complying with the arena-goers' thumbs down)!; the victim happens to be the love interest of their trainer, a Tor Johnson look-alike(!) who then changes loyalties and determines to help the girls escape. Eventually, the latter take control of the arena and exact a terrible revenge upon their captors (but also one of their number who had ingratiated herself with the 'enemy'); when the Roman militia sets out in pursuit, they (or, rather, the two protagonists since they predictably emerge as the sole survivors) escape through the caves to the safety of the sea. The film, essentially a variation on the Women-In-Prison flicks that were very popular around this permissive time, was actually remade by Russian director Timur (NIGHT/DAY WATCH) Bekmambetov in 2001!

On paper, 'The Arena' looks like exploitation gold. You're got the sexy and super cool Pam Grier and Margaret Markov teamed up again after their success in Eddie Romero's 'Black Mama, White Mama'. A script by the Corringtons, fresh from the success of 'The Omega Man'. Plus two directors, prolific king of sleaze Joe D'Amato ('Antropophagus'), and Steve Carver of 'Big Bad Mama' and 'Drum' fame. Unfortunately, the movie never really kick starts into high gear, and while entertaining enough, is a bit of a let down after the classic 'Black Mama, White Mama'. Grier and Markov play slaves forced to serve the decadent Romans who make up the jaded audience of the local gladiator battles. It doesn't take a rocket scientist to guess that before too long the women will have to fight in the arena themselves, initially against male gladiators, but eventually their fellow female slaves. Will their individual will to survive win out over their burgeoning proto-feminist consciousness? I'll leave you to find that out... This is an above average 1970s drive in movie helped tremendously by the presence of Markov, and especially blaxploitation legend Grier, who is tough and sexy and shows quite a bit of flesh. The spirited cast also includes Jess Franco favourite Paul Muller ('Vampyros Lesbos', 'A Virgin Among The Living Dead', Caiano's underrated 'Night Of The Doomed'). A fun movie if you don't expect too much.