sprayed by a firehose for punishment The narrative peaks with some kind of rebellion, which may include a fight, attempted break out, or natural disaster such as a prison fire or earthquake. The story then follows with an uprising or escape sequence in which the villains are killed and the prisoner is freed. Occasionally a new inmate is an undercover reporter investigating corruption as in Bare Behind Bars or a government agent sent to rescue a political prisoner (Caged Heat 2: Stripped of Freedom, Love Camp 7). Most commonly, the prisoner is reunited with a man (a lover, father, or priest) who guides her to goodness so she can reestablish her life with familial and heterosexual relationships. History of the genre In the silent era, only a few films featured women as leading characters in crime dramas. A silent film star who perfected such roles was Priscilla Dean, most notably in The Wicked Darling (1919) and Outside the Law (1920). But it was not until the 1930s that Hollywood began making movies partially set in women's prisons, such as Up the River (1930), with Claire Luce, Ladies They Talk About (1933), with Barbara Stanwyck, Hold Your Man (1933), with Jean Harlow, and Girls on Probation (1938), with Jane Bryan, but generally, only a small part of the action took place inside the institution. Women-in-prison films developed in the 1930s as melodramas in which young heroines were shown the way to a righteous life by way of the prison. Under the influence of pulp magazines and paperbacks, they became popular B movies during this period. It was not until the 1950s, beginning with the release of Caged (1950), starring Eleanor Parker and Agnes Moorehead, So Young, So Bad (also 1950), with Anne Francis and Rita Moreno, Women's Prison (1955) with Ida Lupino and Cleo Moore and, in Great Britain, The Weak and the Wicked (1954), with Glynis Johns and Diana Dors, that an entire film was set inside a women's correctional facility. Several films were made about women prisoners interned by the Germans and Japanese during the Second World War such as Two Thousand Women and Three Came Home. The film that kicked off the genre in a new direction was Jesús Franco's 99 Women, which was a big box office success in the U.S. in 1969. That year Love Camp 7 was also among the first pure exploitation films that