Emanuelle - Perché violenza alle donne?

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.

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).

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!

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!

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.