Black Emanuelle

Some folks say this is the best Emmanuelle movie while others say it sucks. Well, I think they're both right. All the Emmanuelle (French)and Emanuelle (Italian) movies have laughable dubbed dialogue, idiotic libertine philosophizing, a heavy dose of European art houses pretensions, and of course mildly erotic if increasingly tedious omni sexual sex scenes. The Italian movies added a borderline-racist fascination with interracial coupling, and Joe D'Amato took the series into some irredeemably sleazy territory involving cannibals and snuff films. Still all these movies were shot on film, they all had some breath-takingly beautiful natural scenery (and I don't just mean the women), and they were, if only by default, interesting exotic travelogues. "Black Emanuelle" typifies both the best and worst aspects of the series.

Unfortunately, after once talented director Walerian Borozyx for some reason cast America b-Movie bimbo Monique Gabrielle (who makes Laura Gemser look like Meryl Streep)in "Emmanuelle 5", and "Emmanuelle 6" with Natalie Uher (actually the best of the legitimate French movies) and a French TV series hosted by original Emmanuelle, Sylvia Kristel, didn't take, Emmanuelle would go Hollywood. Film became porno-gloss video. Exotic African and Asian locations became left over "Star Trek" sets. And the most beautiful naked women God could create (Laura Gemser, Natalie Uher, Nieves Navarro) were replaced by the most beautiful naked women Beverly Hills plastic surgeons could create (Krista Allen, Holly Sampson). Stupid but exotic became stupid and boring. There is only one reason to watch a modern Emmanuelle movie, but that only takes your average dateless wonder about ten minutes. The original "Black Emanuelle" is awful, but it will at least hold your interest until the end, making it--by default--the best of the bunch. (However, when I can get a cheap copy or learn to speak Italian, I'd like to see the very first Emmanuelle--"Io, Emmanuelle" with Erika Blanc)

The first of the Italian rip-offs of the French soft porn blockbuster (though it might be interesting to note that the boot-shaped country actually got their first with Cesare Canevari's 1968 IO, EMMANUELLE starring Erika Blanc) is a very different kettle of fish than the sleazy sequels provided by the late, questionably great Joe D'Amato. It is much closer in spirit to the now very dated Just Jaeckin film from 1973, taking a pokerfaced look at male/female relationships, questioning such then hot topics as fidelity and jealousy, all in luxurious exotic surroundings. Unlike D'Amato, director Albert Thomas (aka Adalberto Albertini, who also made the hard to find YELLOW EMANUELLE, actually a sexed-up version of MADAME BUTTERFLY !) does not present us with predatory drug lords, snuff movie makers or rampaging cannibals, making for an admittedly less sensational yet far more erotic viewing experience.

Photo journalist Mae Jordan aka 'Emanuelle' (lovely Java-born Laura Gemser in her first lead role following bit parts as a Thai masseuse in EMMANUELLE 2 and an 'unspoilt native' in Just Jaeckin's portion of the rarely seen COLLECTIONS PRIVEES) flies down to Nairobi where she's to shoot the stills accompanying an article by noted British writer Anne, played by the very Teutonic Karin Schubert with a butch haircut that takes some getting used to. Anne shares an 'open relationship' (remember when this was made) with her Italian husband Gianni (Angelo Infanti), meaning that both pretty much jump anything with a pulse. Contrary to her subsequent reputation, Emanuelle appears positively reticent compared to her heavy breathing hosts, smoldering seductively at Gianni by way of foreplay until the exquisitely tantalizing pay-off. Okay, so she does make up for this lack of wantonness at the end when she does an entire male hockey team on the train. I kid you not.

Production on this sexploitation classic is quite impressive, especially the superb cinematography. And Nico Fidenco's musical theme is a solid favorite of anyone with more than a passing interest in the genre, a hilarious Eurotrash pop ditty (try to make out those totally nonsensical lyrics and have a full evening's worth of fun with the family !) that turns up throughout the entire film in every conceivable type of rendition from slow 'n' sexy to hip-gyrating disco.

This is entirely Laura Gemser's show though. Billed simply as 'Emanuelle' (as was another actress on the same director's elusive EMANUELLE NERA 2), she lights up the screen from start to finish. Not yet submitted to endless rape scenarios (as she would be once D'Amato took over), she seems much more relaxed than in later films, even smiling from time to time, a rare occasion as anyone who has seen some of the lady's work surely knows. A flawless Eurasian rather than as the title suggests black beauty (she hails from Dutch India now Indonesia and is actually quite close in physical appearance to the supposed author of the novel Emmanuelle Arsan), she projects a slightly passive, even submissive sensuality which somehow detaches her from the 'depravity' her morally corrupted cohorts indulge in. Unlike the French film, cheapskate moralizing is kept to a bare minimum, almost thrown in as an afterthought near film's end when Emanuelle tells Gianni that he hasn't lost her as he never possessed her to begin with. I swear you could hear audiences of the Just Jaeckin version groan whenever Alain Cuny's supremely irritating Mario showed up on screen as it meant we were in for too many minutes of halfbacks libertine philosophizing as an alibi for getting the divine Sylvia Kristel (now living in the Belgian capital of Brussels by the way...) to disrobe, the real reasons theaters were packed for years on end. Gemser's later husband, Gabriele Tinti (now deceased, she has remarried), appears on the sidelines as the constantly drunk 'Scottish' (huh ?) writer who forces himself briefly on Emanuelle amid the African ruins at some point, but no real sex scene though.

Laura Gemser plays a magazine photographer who is sent to Africa for a photo shoot. There she is met by a couple and other swinging couples. They all stay at this huge, very touristy hotel with a gigantic swimming pool. One night they have a pool party complete with "real live" native dancers. It's very un-politically correct and very kitschy. Later, Emanuelle finally has her photo shoot, which turns out to be in one of those drive-through, stay-in-your-car safaris (albeit the photography is gorgeous). Throughout the film, Emanuelle is going after every man she meets. The photography is very well done in this film. There are scenes with cascading waterfalls, galloping giraffes and ancient ruins. The film is worth seeing for the soundtrack by Nico Fidenco alone.

The main reason to check this one out is to watch Laura Gemser in all her glory.

That's reason enough for me.

She heads to Africa as guests of another rich guy that seems to be all over these films. Huge mansion near the jungle. Hunters staying around for parties when they aren't out hunting zebras. And said parties becoming drunken orgies.

All the high society types in the Emanuelle films seem to have out of control fetishes. And Emanuelle beds most of them.

Joe D'Amato did NOT direct this one. He just ripped it off and used the same cast(s). And did anyone notice the 'subliminal' sexual images at the gas station? And why did most of the men stay dressed during the sex scenes?

Coherence? Hardly any. BUT GODDESS GEMSER IS BEAUTIFUL.

I loved this movie. Laura Gemser is simply gorgeous and all movies she bares her perfect body in are worth watching, but what I loved about this one in particular were the lesbian scenes with Karin Schubert. It's a very nice contrast between Laura's exotic beauty and Karin's extremely slutty looks. My favorite scene is when Laura waits in the car while Karin goes inside the gas-station and has wild and nasty sex with the black owner...It's great!