Avis des utilisateurs

The third (I think) installment in the Italian Emanuelle series starring the unearthly beautiful Laura Gemser, and simultaneously the final one that is somewhat classy and stylish. After this entry, the franchise became the prototype of total sleaze & obscenity with sex-insatiable Emanuelle invading women prisons and even a tribe of Amazonian cannibals. "The Degradation of Emanuelle" even ranks among Joe D'Amato's best films, since the screenplay is adequately written for a change and the erotic scenes are tasteful and tempting. After a brief encounter with the man of her life – a congressman for the United Nations – sleaze reporter Emanuelle wants to alter her writing style and battle the oppression of women all around the world. This noble mission brings her from India, where she unmasks a fake guru who supposedly re-invented the female orgasm, to Rome, where there's a whole network of girls that get kidnapped and deported to the Middle East as white sex slaves. But her biggest challenge lies in the United States, where eminent senators can still rape innocent girls without being punished for it. As a social allegory on Human Rights, this is a very meaningless effort but it remains a pretty decent exploitation film all together. The decors and costumes are beautiful and every large hole in the plot is neatly filled up with footage of Laura Gemser's stunningly ravishing body. Just like in all the other Black Emanuelle films, the absolute finest aspect is Nico Fidenco's brilliant music. The intro song "Picture of Love" should have won an Oscar! Ha!

Taking a ride in Blaxploitation's success, Joe D'Amato came with a new version of endless Emanuelle, a black one, Laura Gemser is almost perfect for the role, a little skinny to my taste but works, not so voluptuous like your partnership Karin Schubert, actually this movie has an original and fresh idea about Emanuelle whereabouts, she moves around the world as suggest the title, some scenes are too hard for a soft porn imply, boring certainly not!!!

Resume:

First watch: 2018 / How many: 1 / Source: DVD / Rating: 5.25

These 70's "Black" Emanuelle films from Joe D'Amato are no blockbusters but they sure can be enjoyable cheesfests and certainly have a huge following. Many guys like these just for the eye candy of Laura Gemser (can you blame us?). I personally like them because they ARE cheesy. Cheesy can be fun. But some people are dissatisfied with cheesy 70's Euro films if they aren't Oscar material. These are an acquired taste. The best of them being EMANUELLE IN AMERICA (the uncut import version only not the old VidAmerica release) and EMANUELLE AND THE LAST CANNIBALS (for fans of sex/horror). And FYI these films are Italian, but most of the cast are in fact speaking English. I still can't understand why their voices were re-dubbed unless it was to cover up some of the actors heavy Italian accents.

"Emanuelle - Perché violenza alle donne?" is a silly erotic movie about the pre-Aids promiscuous character Emanuelle. Every scene is a pretext for the promiscuity of Emanuelle and to get her and other women naked. Unfortunately the shallow and senseless story of trafficking seems to have been written by a brainless fourteen year-old boy with high level of sex hormone. In the end, watching the dated soft porn "Emanuelle - Perché violenza alle donne?" is a complete waste of time. My vote is two.

Title (Brazil): "Emanuelle pelo Mundo" ("Emanuelle Around the World")

On paper, this stuff's ideal: you get to see comely women with their clothes off - NEVER a bad thing - and juicy violence splits up the fleshy bits.

In reality, it doesn't know if it's horror, action & adventure or porn .. And, of course, it's bad at all three. In the hands of Joe D'Amato, a not inconsiderable hack (when he puts his mind to it - ie: elsewhere) 'EATW' tries to tick all boxes but is a marked fail. The sex scenes are boring; the location material is old and desperate, and the violence is, well, shall we say . . miserable ?

It's designed to sicken - there is some proper rough stuff here - and it IS unnerving seeing a naked woman being restrained by grinning thugs while another repeatedly thumps her in the stomach.

Also, the actors are so badly dubbed and generally awful, you don't feel any sympathy for them, even when they're being done to death in nasty ways.

Laura Gemser is rangy and beautiful and tackles pretty much anything that comes her way. Italian 'video nasties' fans will have fun recognising the voices of some of her swains.

Ivan Rassimov kind of flits around the U. N. doing little; popping up now and again for some words of wisdom before jetting off to the Middle East to end famine. A small amount of interest is generated as to why he's actually in the film, but it soon fades.

There's a theme song, too. As per, it's cheesy trash . . 🎶Let's take a picture of love, And everything will be alright. It's up to you .. 🎶 There's a soundtrack, would you believe ? Nico somebody ..

Anyway, plot as mad as a rabid rat, Gemser is a 'friendly' photo-journalist investigating - and indulging in - sex in all its copious forms. She finds herself, invariably naked, in rum pickles on various continents.

Moral - it's stated often and loudly in case we're slow to twig . ."Men and women are equal, it's society that obligates us to be different . . " Heavy stuff.

The (large) gaps between the bouts of desperate, un-erotic coupling and gleeful, misogynistic violence are filled with stock shots from holiday featurettes while the theme song excruciates.

You can't help but be awed by the audacity of the thing as one sordid atrocity follows another. You need balls of concrete to be Joe D'Amato, pandering to your market to such a degree as 'Emanuelle Around The World'.

Sleazy and mean-spirited, dimwitted and cheap, one can't help feeling silly writing about it . . Spending 20 minutes thinking up words to describe - perhaps even entertain - those that chance upon them while browsing something that amounts to no more than dregs.

Public service, me old plums.

It must have been the softcore version, as ther were no real sex scenes, except for some very fake scenes. The movie itself was very pixelated, and crude. Whoever wrote it, need to try another career. He's no good at this one.

It's kind of a stupid movie, pretty much a waste of time compare to what's available today.

Emanuelle travels the world once again on a crusading mission to report on the abuse and degradation of women at the hands of male-dominated organizations.At her first stop in India she meets up with George Eastman who plays a guru who has discovered the secret of prolonged sexual pleasure. While at the temple she also meets gorgeous Brigitte Petronio and it's not too long before both are having hot lesbian intercourse.While at her next stop in Rome she meets Karin Schubert who gives her a lead about a white-slavery ring...Joe D'Amato's "The Degradation of Emanuelle" is not as sleazy and shocking as infamous "Emanuelle in America",however there is enough sex and violence to bring the smile on the face of any self-respecting smut peddler.The erotic scenes are mostly soft core,but there is a bit of hard core sex added for a good measure.The film is nicely photographed and immensely enjoyable.Give it a look.

The fifth "Black Emanuelle" I've watched has, potentially, the most intriguing plot line dealing as it does with the intrepid female reporter investigating the white slavery/prostitution racket which takes her from San Francisco to Rome to Macao and back to her own hometown, New York! The film is peopled with past veterans of the series which, inexplicably, play completely different roles, namely Ivan Rassimov (appearing here as a head of a United Nations committee for Third World countries!), Karin Shubert (as a feminist rival reporter) and Don Powell (as Rassimov's chauffeur).

Unfortunately, as usual with this type of film (despite their being shown in the dead of night), it is heavily edited and a particularly graphic scene (described in "Stracult") in which an Asian slave trader gets his comeuppance by being sodomized by a dog is nowhere to be seen here!! Still, a harrowing sequence late in the film when a sleazy politician tricks a couple of girls (including, naturally, Gemser and Shubert) into a midnight rendezvous under a New York bridge with a group of bums (this is the way he gets their votes, get it!) - with his high society pals giddily looking on - seems pretty much intact.

The most ridiculous element of this entry - apart from Gemser's penchant to disrobe completely every time she enters a house (even in front of perfect strangers) - is her excursion to India to interview a charlatan/Guru (George Eastman made up to look considerably Christ-like!) who has found a way to prolong coitus indefinitely; of course, when Emanuelle calls him up on it, he ends up having premature ejaculation...!!

Once again, Laura Gemser stars as sexy reporter Emanuelle, whose latest assignment takes her to India where a Tantric sex guru (George Eastman) claims to have discovered the secret to an everlasting climax. Although the guru proves to be a fake (he can't hold back forever with our heroine on the job), the feature leads the intrepid newswoman to discover the existence of a white slave ring, a scoop which takes Emanuelle bumping and grinding her way around the world, before returning to New York to find an even more shocking story involving top US politicians.

Although Joe D'amato's Emanuelle Around the World isn't as notorious as his earlier sleaze-fest Emanuelle in America, never quite managing to match that film's gruelling faux-snuff footage for sheer nastiness, it still packs a punch with hardcore sex footage, several non-explicit but still fairly harrowing gang-rapes, fun with fruit, and one particularly jaw-dropping moment in which a leering Chinese man introduces a bound, naked woman to his pets: a snake and a randy Alsation dog (Fido is so pleased to make her acquaintance, he gives her his bone).

Of course, sultry star Gemser never gets involved in any of the hardcore shenanigans herself, preferring only to actively partake in the usual assortment of simulated sex acts for which she is renowned: lesbianism, soft-core coupling and self-gratification. In addition to allowing Gemser to romp with almost everyone else in the film, the erratic story also provides D'amato with the opportunity to pad out his film with dull travelogue style footage and boring incidental characters (Italian exploitation favourite Ivan Rassimov is completely wasted in a pointless role). The result is a film with an unfocused and rather muddled style—easy-going and uneventful one moment, completely reprehensible the next—but one which still manages to be a fair bit of fun if you dig crazy 70s filth.

6.5 out of 10, rounded up to 7 for IMDb.

Right, well of course I am familiar with the "Emanuelle" movies, but by title alone and the fact that they are sexploitation movies. Oddly enough, given my fascination and interest in movies, then I've actually never sat down to watch a single "Emanuelle" movie. Not before now in 2021, at long last. And I had the chance to watch the 1977 movie "Emanuelle: Around the World" (aka "Emanuelle - Perché violenza alle donne?").

And let me just be the first to say that not only was this my first foray into the "Emanuelle" movies, but it is most certainly also my last. Wow, this movie was unfathomably slow paced and pointless.

I managed to endure a staggering 40 minutes of pure boredom and pointlessness, and then I just tossed the towel in the ring and gave up. Man, talk about an utterly complete waste of time.

The storyline told in "Emanuelle: Around the World" just didn't catch my interest, and it didn't help much that virtually nothing interesting happened throughout the course of the 40 minutes I suffered through. And the dialogue in the movie wasn't exactly riveting Shakespearian dialogue. Nor were the acting performances all that thrilling.

Sure, the main actress - Laura Gemser - was quite a stunningly beautiful woman in the movie, but there should be more to a movie than just having a pretty face and daring to do full nudity.

I think that the years have eluded "Emanuelle: Around the World" and the movie is a thing of the past, where it should remain. I can imagine that back in the 1970s, then movies like the "Emanuelle" series had a great impact, given the audacity of the visuals and the liberal freedom of showing semi-explicit scenes of lewd nudity and adult situations.

This was a waste of effort and also a waste of time. And I have absolutely zero interest in watching the rest of the movie, much less actually dabble with getting around to watching the other "Emanuelle" movies as a matter of fact.

My rating of "Emanuelle: Around the World" lands on a mere two out of ten stars. This was not a movie that fell into my liking or within the scopes of what I find interesting.

This is perhaps the most enjoyable of e Aristide Massaccesi's EMANUELLE movies, relatively free of the sadistic excesses of more extreme installments such as EMANUELLE IN America and EMANUELLE AND THE LAST CANNIBALS. As in the previous episode, EMANUELLE AND THE WHITE SLAVE TRADE (a/k/a VIA DELLA PROSTITUZIONE and at least half a dozen other titles), our intrepid girl reporter (still played by statuesque Laura Gemser who hails from the isle of Java in the former Dutch Indies) is hot on the trail of an international white slavery ring.

Having said thanks to the lorry driver (US adult superstar Paul Thomas) who picked her up naked in San Francisco harbor in her customary fashion, she bumps into old friend and colleague Cora Norman (German nudie starlet and later middle-aged Queen Mum of Spaghetti Hardcore Karin Schubert) who has found a lead to the gang's whereabouts in Rome. Before she can go check this out however, Emanuelle's editor demands that she'd do an exposé on some trendy Indian guru (exploitation mainstay George Eastman a/k/a Luigi Montefiori) in sunny Bombay instead. This makes for the best (and funniest) part of the movie as bored housewives from all over the world flock to the temple to experience the guru's heavily hyped "prolonged orgasm" techniques. Naturally, the guy turns out to be a fraud as Emanuelle soon learns when she makes love to him and he turns out to be a touch, well, premature !

In Rome, Cora gets beaten up and raped as her investigations start to turn up a bit too much in the way of damaging information as Emanuelle allows herself to be picked up by a pair of local lover boys who deliver her to the lair of the evildoers. Luckily, she had just met some virginal puppy dog (played by Claudio Alliotti who would go on to star in Masuo Ikeda's extraordinary DEDICATO AL MARE EGEO) mere minutes before and asked him to follow her on his Vespa and inform the cops.

Hong Kong and wicked Chinamen are next on the agenda, including some spectacularly tasteless (but hilarious) business involving strapped down naked women with various animal species, fortunately with appropriate comeuppance for their tormentor, before we're off again to downtown Teheran for sheiks and harems.

Capturing their target at this last stop, Emanuelle and Cora learn that women's rights are still trampled on their N.Y. home turf as well when they're invited along with an assortment of senators and their entourage for the humiliation of Miss Ohio (hardcore porn actress Juliet Graham) at the hands of homeless bums.

Even though most of the film's gorgeous female cast gets roughed up at some point, Massaccesi manages to keep the tone surprisingly light, helped by the furious pace with which he rushes through the often nonsensical proceedings, making this the cinematic equivalent of the sleazy adult comics that were quite popular at the time, in their own way unassuming precursors to much of today's manga output. Sex is quite strong for soft core with fleeting hardcore footage spicing up the orgy scenes, none of it involving Gemser though who acts as haughtily impervious to the tawdry shenanigans as ever, adding an arbitrary touch of class in the process. Italian exploitation veteran Ivan Rassimov is pretty much wasted as diplomat and do-gooder Malcolm Robertson who falls in love with our flighty heroine but never manages to get into her pants (on those rare occasions she's actually wearing them !) due to conflicting schedules which tend to find them at opposing sides of the world.

Good cinematography by Massaccesi supplies surface gloss (they were ripping off a "très chic" French sex series, after all) and Nico Fidenco's infernally groovy soundtrack bumps 'n' grinds along with the cast. So let me leave you with the lyrics to the unforgettable (resistance is futile) theme song, all together now : "Let's take a picture of love !"

I gave this movie an overall 5/10, but it's very episodic, and I'd like to mention that there's one gem in there, the "temple" or "Guru" sequence which starts exactly 15 minutes in and lasts for about 20 minutes. Firstly because it's sexy (okay, most everything with Gemser in it is). Secondly, because it's shot beautifully - the temple itself as well as the proceedings. But what I liked most was the excellent sense of humour, with real gags - something not frequent in "erotic" movies and mostly absent in porn. The humour is building throughout the sequence, starting with Emanuelle encountering an only half-convinced believer girl, then rudely disturbing a mass meditation/orgy (by joining and bringing a guy to orgasm prematurely), then observing the proceedings in the "training hall" which are really a hoot, but this all gets topped when finally, of course, the skeptical Emanuelle gets her hands on the Guru himself ... I don't want to spoil anything here but their encounter and its aftermath form one of the funnier moments in film history and would fit equally well in a Monty Python movie. Usually with this kind of movies you expect to laugh out because it's "so bad it's funny" - in this case, it's the real thing.

Highly recommended for this scene alone; everything else is more or less the usual "Black Emanuelle" stuff plus some rather violent scenes (fitting the sex trade theme but definitely not erotic).

This movie recently appeared in the "Black Emanuelle's Box Set" with two other movies, one of which was significantly better ("Sister Emanuelle") and the other slightly worse ("Emanuelle in Bangkok"). Emanuelle (Laura Gemser)is a once again a "world-famous photojournalist" who is much more intrepid than intelligent (when we first see her she is saving air fare to San Francisco by having sex with a long-haul furniture trucker--I don't know why she didn't just have sex with a pilot). She is sent to India by her publisher where she discredits a local sex guru--by having sex with him, of course. Encouraged by an old friend (Karin Schubert) and a young girl (Briget Petronnio) who she meets (and has lesbian sex with) in India, she decides to investigate a white slavery ring, naturally by getting HERSELF kidnapped, along with a couple naive white girls, in Rome with only a shy, virginal guy she briefly flirted with as back-up.

Obviously, this film is not very realistic. International sex slave rings do not generally trade in pretty middle-class white girls snatched right off the street while touring Rome. This movie would be pretty offensive if it WAS realistic though since it is obviously far more interested in exploiting this subject than exposing it. It is not quite as transgressive or disturbing as other films in the series like "Emanuelle in America", but there are way too many scenes of women being slapped around and/or raped. Still even these scenes look more like rough consensual sex than anything since the women never seem to physically or mentally traumatized by it, but remain as pretty and chirpy as ever afterward.

The female leads are all very attractive. Petronnio would later suffer far worse abuse in Ruggiero Deodata' "House at the Edge of the Park" while Schubert probably suffered worse in real-life after becoming a hardcore actress. Laura Gemser, as usual, manages to float effortlessly above whatever sleaze she is cast in. At times this movie seems almost feminist in a strange way, much more so than the similar American "Ginger" series with Cheri Caffaro, largely because of the innate classiness of Gemser that makes her "degradation"-proof even to the likes of Joe D'Amato. As for the movie itself, it's not good and I don't want to morally defend it, but it isn't really more than a, for lack of a better word, "naked" version of the old Hollywood ploy of exploiting lurid subject matter while pretending to condemn it.

"Emanuelle - Perché violenza alle donne?" is a 1977 Italian exploitation film directed by Joe D'Amato. The movie follows the story of Emanuelle, a journalist who investigates the world of sex trafficking and exploitation. While the film attempts to tackle a serious issue, it fails to make a meaningful impact due to its poor execution and lack of depth.

The film's main problem lies in its over-reliance on shock value and gratuitous sex scenes. Instead of focusing on character development or a compelling narrative, "Emanuelle - Perché violenza alle donne?" resorts to graphic depictions of violence and sexual exploitation. These scenes, which were likely intended to provoke a strong reaction from viewers, ultimately feel exploitative themselves and add little to the overall story.

The acting in the film is mediocre at best, with most performances coming across as wooden and unconvincing. The dialogue is often clunky and unnatural, further detracting from the viewing experience. The cinematography and production design are also lackluster, giving the film a cheap and amateurish feel.

One of the few bright spots in "Emanuelle - Perché violenza alle donne?" is the performance of Laura Gemser, who plays the titular character. Gemser brings a certain level of gravitas to her role, and her scenes are generally more engaging than those featuring the other actors. However, even her performance is hampered by the film's weak script and direction.

In conclusion, "Emanuelle - Perché violenza alle donne?" is a poorly made exploitation film that fails to deliver a meaningful message or memorable viewing experience. While it may appeal to fans of the genre who are looking for shock value, most viewers will likely find it forgettable and unenjoyable.

Emanuelle - Perché violenza alle donne? Is a film that flirts with the illusion of investigative journalism, but ultimately becomes a grim, fragmented journey through exploitation cinema. From the moment the film begins, its tone is unmistakably sleazy, yet strangely self-aware. The atmosphere vacillates between the bizarre and the brutal, with a sense of voyeurism that's both its core theme and its narrative device.

Cinematographer Joe D'Amato (credited under his real name, Aristide Massaccesi) also handles the camera work himself, and despite the film's often sordid content, he shows a surprisingly keen eye for mood and composition. The use of soft lighting, shadow, and natural locations gives certain scenes an almost dreamlike quality, especially during Emanuelle's travels through Venice and the Caribbean. These sequences offer a strange calm before the film veers back into murkier, more disturbing territory. However, this contrast also exposes the film's uneven pacing and tonal dissonance. Scenes jump abruptly between travelogue-like serenity and shock material, leaving viewers disoriented rather than intrigued.

Laura Gemser, in the role of Emanuelle, brings her usual enigmatic poise to a character who is often thrown into implausible situations with little context or buildup. Her calm, steely presence anchors the chaos around her, and though the script gives her little depth, Gemser carries each scene with confidence. She's by far the film's most consistent performer, managing to bring dignity to a role that frequently undermines her. The supporting cast, meanwhile, ranges from wooden to wildly over-the-top. Ivan Rassimov adds some charm in a minor role, though his screen time is limited, and others drift in and out of scenes with barely any development or motivation.

What drags the film down is its reliance on shock for shock's sake. D'Amato flirts with taboo not for narrative or thematic depth, but to provoke, titillate, or appall. The inclusion of extreme content (including a sequence strongly implying bestiality) crosses the line from provocative to gratuitous. There's a difference between confronting discomfort for artistic reasons and wallowing in it for cheap effect. Unfortunately, the film rarely seems interested in exploring anything beyond surface-level depravity.

Despite all this, there is something oddly compelling about the film's rawness. It captures a specific moment in 1970s European genre cinema when anything felt permissible, when boundaries were pushed not always with purpose, but with bold, often reckless energy. That lack of polish, while frustrating, also gives the film a certain grimy authenticity.

Certaintly not as sleazy as Emanuelle In America, but not as lightweight ad Emanulle In Bangkok. Similar to Emanuelle in America we have Emanuelle traversing the globe discovering sex scandals. The set peices range from fairly innocent romp in the back of a moving truck to rape and beastality (implied not explicit). Of course it all remains fairly softcore. D'Amato handles the cinematography masterfully, its easy to see why he's so at home in adult films. Hes a master at creating suspenceful erotic sex scenes. Watch for ol Joe himself in a quick cameo near the end of the film (hes the man being arrested at the very end).

Of all the films in this long running series, THIS movie is truly the "jewel in the crown." Because "Emanuelle Around the World" is really filmed on location in many cities around the world, it truly has an "epic" feel. Laura Gemser, in the title role, traipses from one continent to the next, often with the blonde Karin Schubert by her side, as they pursue white slavers and attempt to bring them down. It's like an X rated "Charlie's Angels at times, and Schubert creates a memorable "tough girl" character in Cora. The thing that makes this entry in the series, the most controversial, is the astounding level of sexualized violence. This movie must have the most rape scenes of ANY movie in history. And each one is more horrific than the last. By the time the action moves to Hong Kong the rapes begin to involve German Shepards and snakes. Obviously this one is not for all tastes, but it really is a powerful film that has not only retained the ability to shock, but in this PC climate, it is even more shocking than ever. The strange thing is, there is so much beauty mixed in with the ugly violence; the travelogue style of the film is so impressive, taking the audience on a World tour of some of the most beautiful, exotic and obscure places on the planet. And of course the incomparable, exotic beauty of it's heroine, Laura Gemser, makes anything easier to endure. And look for the gorgeous Brigitte Petronio in her cameo appearance, playing agirl hading out in hotel rooms in India. The love scene between her and Gemser is subime! A million times sexier than some ugly hardcore footage. Another remarkable thing about "Emanuelle Around the World," is the impressive way it walks the fine line between soft-core and hard-core territory. Thankfully scenes of close-up penetration and ejaculation shots are left out, as that would immediately compromise the film, and make it impossible to take seriously. Joe D'Amato made the mistake of going all out hardcore with his "Emanuelle In America." And even though that film is absolutely inferior to "Around the World," it is sadly the one that gets all the attention. Take away the few minutes of ugly, poorly shot hardcore and that 45 second snuff footage at the end, you are left with a boring, lackluster film, which is surprisingly light stuff, almost comical for most of it's runtime. Not so with "Around the World,' which retains a dark, violent tone throughout. For fans of true grindhouse cinema, the uncut version of "Emanuelle Around the World" is the Holy Grail of 70's shock cinema..The series never reached these heights again. And obviously we will NEVER see anything like this movie in modern times; can you imagine THIS being made TODAY? The director might find himself in prison.

Emanuelle is now a newspaper reporter who travels around the world in search of a story about "violence to women". It starts off in San Francisco, where she meets a guru leader of a religious sex cult. We see the inside of a large church-like rotunda covered with colorful, "Indian" tapestries. The members of the cult are arranged in pairs, seated on pillows, all over the floor. It's sort of unclear, but it seems that this is one of the places where sex slaves are collected. Then suddenly, Emanuelle is off to Rome where she uncovers another sex slave operation, then Hong Kong, the Middle East, and finally New York. There are really five mini-plots associated with each of these places. It's almost episodic. In comparison with "Black Emanuelle", the movie seems less focused on the characters and more interested in illustrating the plot. It can be less engaging because of this. Still, it's probably one of the better in the series (much better than "Black E, White E/aka Emanuelle in Egypt") and full of cheap, exploitive thrills!