Blucher One of the worst movies I've ever seen

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

JohnHowardReid Copyright 27 September 1961 by Associated Producers, Inc. Released through 20th Century-Fox. New York opening at neighborhood cinemas: 31 January 1962. U.S. release: October 1961. U.K. release: March 1962. Australian release: 23 February 1962. 88 minutes. Censored to 85 minutes in Britain and Australia. Location scenes filmed in Hawaii.SYNOPSIS: Grace Ingram (Patricia Owens) is an American member of an Australian scientific expedition in New Guinea in 1942 when the Japanese invade the island. She is captured and imprisoned in a temporary women's compound. A converted missionary school, it serves as a detention center from which the prisoners will be shipped to the permanent Northern camps. Grace is placed in a cell with six other women; Janet Cook (Yvonne Craig), a pregnant American girl whose husband is in the Men's compound nearby; Ann Van Lee (Sylvia Daneel), a young German woman; Mara Shepherd (Margia Dean), a tough American girl of dubious background; Claire Oudry (Denise Darcel), a French waitress; Mai-Lu Ferguson (Pilar Suerat), an oriental nurse; and Regan (Evadne Baker), an American.VIEWERS' GUIDE: Adults.COMMENT: An obvious rip-off of "A Town Like Alice", this episodic women POW film is a turgid melange of ludicrous clichés for the distaff market. Webb's direction is nondescript, despite surprisingly high production values, including Floyd Crosby's fine photography. Miss Owens makes a poor fist of the heroine, but the support cast is not without interest. Some exciting action sequences staged by Lee Zavitz give the film much-needed punch. Pacing throughout is very uneven. Choppy film editing occasioned by numerous censor cuts doesn't help either.OTHER VIEWS:Completely strangled by a potty plot. Cesar Romero's impression of a treacherous planter is only one example of the film's wilder fantasies. The dialogue is memorably absurd, the level of technical accomplishment very low. — Monthly Film Bulletin.Some of the funniest dialogue of the year. — Variety.

oscar-35 I found this film on a late night Memorial Day WW2 movies marathon. It was vintage female cast film commemorating the atrocities of the Japanese Philipino occupation. The curvy ladies in this film demonstrate all the layers of American society trying to stay free. Richard Loo turns into another villain role. It was fun to see an early Yvonne Craig, TV's Batgirl in a meatier role filled with drama. The other female cast consists of seasoned stage actresses who do well in portraying worried characters. Cesar Romero is a nice treat to this film in his contribution to move the plot along. The film's surprise ending is a nice treat, but somewhat old and tired.

whpratt1 A group of women from different walks of life were captured by the Janpanese army during WW II and separated from their husbands and boyfriends.All these women soon learned that the Japanese army was very cruel in their treatment of women and expected the gals to bow upon greeting and leaving their presences.All the women tried to escape on many occasions and failed and were punished by beatings and torture methods. There was plenty of action and even some romance was created by veteran actor Cesar Romero who had a great way of charming the ladies.There was even time for humor and you will never guess how this film ends. Enjoy.

John Seal This Fox Cinemascope feature bridges the gap between the women in prison flicks of the 1950s and the AIP Women In Cages cycle of the 70s. There's rape, torture, and large breasts straining against tight tops---but only in moderation. Seven women--most of them looking like refugees from, oh, 1961 rather than the wartime Philippines--find themselves at the mercy of the merciless Imperial Japanese Army and endeavour to escape the clutches of the fiendish Orientals, personified best by Richard Loo in the scenery-chewing role of the ruthless sergeant in charge of the prison camp. Cesar Romero shows up for the final reel in what turns out to be a most unsatisying ending. The film looks good thanks to Floyd Crosby's camera work but is let down by a weak script and incredibly poor costuming, make-up, and (in most cases) acting.