A sequence in which a British captive must destroy a radio is beautifully composed, and set deep in nighttime shadow. Yet itвЂ™s an overall success, generously paced at only 80-minutes, and constructing deep tension as needed.

Given the few POW thrillers focused on women, Camp on Blood Island misses an opportunity. The script also pushes the focus on the men, merely glancing toward the women, using them for emotional weight, not as characters. ItвЂ™s sparse too, if an accidental success in making the camps look so isolated. Indian Marne Maitland plays a key Japanese figure, unconvincing in appearance as much as the stilted dialog delivery. ThereвЂ™s loss and mistakes, an imperfect force against their opponent.ДЄt times, Hammer makes due with this production. Camp on Blood Island is fearful of what happens when such beliefs penetrate a populace, and the climatic battle isnвЂ™t a thick, implausible action scene where the British win. Their viciousness is evident immediately, and not only for exploitation and British patriotism itвЂ™s depicting Imperialism and its effects on soldiers who see themselves as invincible, soon to rule the world. The opening moments depict a prisoner digging a grave, the Japanese then shooting him into it. ItвЂ™s an effectual, memorable story, soaked in humidity, and stressful. Also nearby, a second camp, that with women and children, also soon to be massacred upon any mistake. A nearby plane crash is terrifying, because if the pilot survived, heвЂ™ll unwittingly bring information to the Japanese, and with no recourse to fight back. That turns the usual psychology against those captured, who rather than escape, seek anyone from getting in. вЂ¦ clumsily executed theatrical action fills Camp on Blood IslandвЂ™s final frames, but thereвЂ™s still something worth rooting for

The camp on blood island movie