In this, the last of the series, Ilsa is back in command of a prison camp—Gulag 14 in the frozen wastes of Siberia. It is 1953, and Stalin rules Russia with an iron fist; Ilsa’s job is to reform political prisoners using every and any means necessary, and in between torturing and killing, she takes time out to have threesomes with the camp guards.
Of course, in true Ilsa fashion, there is one particular inmate that piques her interest—the unbreakable Andrei Chikurin—and she makes it her mission to both brainwash him and bed him. She fails to do either, and just as she is about to feed him to a tiger, she learns that her beloved Stalin is dead and flees the scene, burning Gulag 14 to the ground to destroy any evidence of her crimes. Andrei crawls from the blazing camp as Ilsa escapes with her most trusted henchmen.
The movie then fast forwards to Montreal ,1977. Andrei is now manager of the visiting Russian Olympic hockey team. He is talked into taking two of the players to a brothel (so that they can sample American women before returning home) which, unbeknownst to him, is owned by none other than his old adversary Ilsa. With the help of her Russian sidekicks, the busty bitch has been forcing local mob bosses to sign over their businesses before dumping them into a frozen lake, trapped inside metal drums. On spotting Andrei, Ilsa decides that she will finish the job she failed to do 24 years previously…
The Siberian bound first half of the film is by far the best part of the film, since it allows Dyanne Thorne’s busty sadist full reign to do what she does best: torture, maim and kill. She is one happy bunny hauling the men under ice, forcing them to arm-wrestle over running chain saws (a standout scene), feeding them to the tiger and impaling them on huge wooden stakes. This girl sure loves her work!! The only downside is that the camp is all male—I really missed the gratuitous ‘naked babe’ shower scenes.
Fortunately, the second half of the film offers plenty of nudity and more than makes up for the lack of T&A in the first. What it does lack, however, is the sleaze factor; Ilsa’s preferred method of torture in ’77 is via a hi-tech computer (a laughably crap box with randomly flashing buttons) which pinpoints one’s innermost fears and then projects holographic images of these ‘terrors’ into the room in which the prisoner is trapped. Call me old fashioned, but I like the traditional methods best.
Whilst not quite up to the standards of the first two films, Tigress of the Siberia is well worth a look for fans of exploitation and there is plenty to be enjoyed.
And what of Ilsa? She has to leave in a hurry when Russian special agents storm her stronghold; racing away on a snowmobile, she crashes, breaking her ankle. We leave her stranded in a frozen wasteland, unable to walk, burning her bags of money in order to keep warm as the sun drops below the horizon— what a great way to end the series!