Of all Pete Walker's offerings House Of The Whipcord has to be the most tongue in cheek, with its main character, the vicious Mrs. Wakeham played by Barbara Markham being based on Mary Whitehouse, a notorious British character who wanted everything offensive to her to be put out of sight. Nothing was sacred from Whitehouse, whom being a normal mother took offence at Britain's declining standards, or at least that was how she viewed it. The effect Whitehouse had on censorship in the UK is a story far too extreme to tell here, but Walkers puppet master approach to Mrs. Wakeham views is obvious and most striking, because rather like Whitehouse, Wakeham is naive, stupid, and misguided.

The set up of the movie is a nice idea, and centres around four characters Wakeham, Bates played by Dorothy Gordon, Walker played by Pete Walker regular Sheila Keith; and finally Justice Bailey (Patrick Barr) an aging, senile man who believes he is serving the public. Chiefly steered by Wakeham, this quartet carry out extreme ranges of corporal punishment and imprisonment on young women who poke two fingers up at the British legal system. A keen reader Wakeham seeks out cases in the papers of women who get away with what she sees as blue murder, arranging for them to find themselves at her custom built prison.

As a second element of humour Walkers tool to get inmates to the prison comes in the form of a supposedly suave and debonair man by the name of Mark E. Desade (get it? No? Same the name allowed) played by Robert Tayman, not that I go eyeing up other men but if this guy has anything at all going for him then I have been elevated to stud status by this movie, needless to say however Desade is obviously successful with his captives in order to keep a pretty full prison for Wakeham.

House Of The Whipcord is in the same vein as other Pete Walker movies, pretty harsh to say the least. Another trait they have in common is the unusual and often terrible casting and performances. Rather like Frightmare, and Die Screaming, Marianne; Whipcord sadly falls foul of having a number of terrible actors including Ray Brooks who literally plays the same character he has during his entire career (and that includes Mr. Benn), never a particularly good actor Brooks terrible performance literally reeks here. But it's the casting of Karan David as Karen that creates the biggest laughs, pretending to be French is a road that this actress should never have pursued, and as the movie progresses it's blatantly apparent that David lost track of exactly what nationality she was.

On the flip side of the coin Sheila Keith gives of a well rounded performance as someone both harsh, but capable of the same sort of tongue in cheek humour as the movies director, I'd go as far as to say that the character she plays of Walker was a self imposed homage by the director himself, even naming her after himself. There is a most wonderful piece where Keith and Bates are trying to flee the police, covered in blood and bruises when pulled over and asked if "Do you mind if I have a few words with you?" by a police officer, this moment so amusing it could come off the back of any Carry On movie, it's a pure delight.

Incest raises a familiar head as it does in a number of Walker movies, here the relationship between a mother and her son is certainly moved into a very suspicious light, and anyone not seeing this is looking at the world through those famous rose tinted glasses. The worst factor is the sheer disgustingness of both the characters, the thought of them engaging in anything other than a platonic relationship extreme enough without them needing to be related.

While quite a predictable movie now, back in 1974 Walker used an awful lot of techniques in the movie that are now more commonplace, the result at the time was a shocking wakeup call from British horror. Though never banned when the whole video nasty furore in the UK was underway, it was conveniently arranged that House Of The Whipcord was not seen for a period of about 14 years from the beginning of enforced movie certification. It was not until Nigel Wingrove's company Redemption formed releasing video's of movies lost in the passage of time that House Of The Whipcord was not only seen again, but generated a new public love for the movie.

It's hard to know where to start with this movie because to be honest with you it's all kind of a blur. Following the story of Martel "Too Sweet" Cardone (Leon Isaac Kennedy), from the outside world into prison; once inside Too Sweet through bullying decides it's important to fight in the prison boxing team, from here on out it's all kind of....Yawn.

I try never to write off a movie too soon, and in doing so watched Penitentiary until the very end, what I sadly was doing was not giving a movie a chance, but literally throwing away a hundred minutes of my life. Watching this movie is rather like spending 20 years doing a job you hate, it's offensive and almost painful. The story itself staggers between bad storytelling to bad editing; this is the reason why I find trying to tell the movie in a review so much of a blur.

The movie is pretty much an opportunity to display black people in the worst possible light stereotyping them into the category of rapists, drug addicts, murderers and crazy folks. From the first ten minutes of the movie you really get the feeling that this is a piece of racist paraphernalia. What is most sad about the movie is that is written and directed by a black filmmaker known as Jamaa Fanaka, committing the offence of selling his own race down the river.

After thirty minutes of stumbled storytelling the movie moves onto the fighting, which seems to dominate the following forty minutes. While Too Sweet fights in the ring, some of his fellow inmates use the opportunity to subdue some visiting women from the nearby women's prison, when i say subdue they have a choice have sex, or be raped; used as a tool of pleasure, obviously this is all women are worth. While having to endure the unending series of systematic sexual activity you are forced to hear the sound of the boxing match over the top of the lovemaking, further annoyance is that this sound is on a loop, so every few seconds you here the same shrieks and chants along with some wailing noises that you could only associate with a hippo standing on a spear.

All the way through the movie you feel you're not watching a serious piece of cult cinema, but a spoof; it resembles in some ways the Scary Movie films, with black people with over the top afro's smoking cigarettes through their ears. While another individual runs round with foam pouring from his mouth and covering his face while holding a monkey, demanding to see the naked rear end of whomever he finds offensive. I spent a great proportion of the movie laughing my socks off, but not at the great humour playing out on screen, but because of the sheer absurdity of the piece.

Further annoyance is delivered in the fact that when the cast are not talking in a as yet unchartered "negro slang", they are more often than not inaudible due to poor care of the print over the 30 years since the movie was made, in bringing the movie to DVD no time or effort has been spent trying to improve the sound, or the incredibly grainy images on screen.

What started out mildly amusing because of the overall "badness" of the piece soon turned to annoyance, I was annoyed that I was watching a movie that literally stood as a piece of intolerable racism at a time in American history where all cultures were supposedly being embraced after years of inequality.