In 1951 at a Columbian jungle prison two dangerous men make a daring escape. One is shot moments later, but his buddy Manuel goes on to kidnap a beautiful young society girl named Amparo from a prominent family, abducting her right from her own lavish family estate in the middle of her engagement party. The bad man first steals a car, then a horse and finally flees into the desert with his beautiful captive in tow with justice in hot pursuit. In time the beautiful young captive will be used, abused and degraded sexually but in the end would there be any escape (erotic or otherwise) for the man who defiled and degraded her?
This crude movie is almost designed with a subliminal level of degradation to women that most films actually never want to achieve. Not only is the woman sodomized, abused and beat by her cruel captor for little or no reason but there comes a point in the movie when Manuel actually frees Amparo, sending her to go back and be discovered by her Fathers men. Odder still, Amparo refuses the request, begging to stay with him, talking about “what man would want her now?” even offering to be sold at his whim and fancy, on future travels together if it should help him escape. It is only when he threatens to kill her if she tries to follow him when she allows him to leave. Stockholm syndrome aside, I can’t imagine anything more psychologically offensive to most women than this scene, even to many open minded cinema sexploitation sally’s who think a little underclothes ripping is an exciting foreplay before a “consent optional” sex scene (God bless such quirky women). Perhaps equally troubling is the earlier scene where Manuel catches Amparo trying to signal to her father’s plane and sodomizes her at once while it buzzes obliviously above them, its engines growing softer until they cannot be heard over own terrified cries. But as far as being a video nasty that will first shock its audience (and hopefully make them later cry for infinite justice) Erotic Escape has footage that is weak, unrated but unconvincing as well. This is a salient point, because men tend to judge a grisly sex/violent scene in a movie based on the visual sleaziness of it and women are more prone to judge them upon the mood, nuance (the implications) of it. That’s why this is a rare situation where this film will likely bore male devotees of this sleazy sub-genre of film, because it isn’t “explicit enough” and yet women will find themselves severely offended, especially irritated not just by the cruelty of Manuel, but by the actions of Amparo as they will likely view her character in much the same unsympathetic way as African Americans do when see old Amos + Andy footage done in blackface. This is why your girlfriend may freak out when you watch this with her, even though to most male brains her objections will make no sense because it is nowhere nearly as visually sexually explicit as previous films where she did not object, say LAST HOUSE ON THE LEFT or I SPIT ON YOUR GRAVE which only exposed women’s bodies for cruel violation by men, never the cherished concepts of “womanhood” themselves. While I have personally found that few people like depictions of crimes of sexual violence for the sake of themselves, when such scenes are the buildup to a bloody vengeful rampage by the victim herself, they make some nice revenge fuel for some feel-good extreme visual violence to be visited onto her attackers later that can be appreciated by either sex as powerful, if not altogether empowering to watch together (and one I personally find exhilarating to watch as a perfect date movie).
This being said, disclaimed and explained away this unrated film is nowhere near as sleazy as most male fans of this subgenre all but demand it to be, and yet to any women it will be the very epitome of a 3D assault to the eyes that rapes her estrogen sensibility. In the end you will have a film that truly pleases no one and merely makes both men and women everywhere wish they could somehow apologize for this. The print is kind of crummy looking, and the box art depicts scenes that never appeared in the theater revealing this as a potential unrated version of an actual existing XXX film which upsets the purist in me like little else.
Still, if you can somehow see this through to the end, Amparo does eventually prove that while she may have been the victim of a sexual assault, she ultimately proves that she is nobody’s bitch. So hang around. (This will make sense after you see it). I give it two stars for giving us proper sexploitation fulfillment, a “happy ending” of sorts after rubbing us the wrong way for 80 minutes.