Emmanuelle

Going into this film, the only thing that I was really worried about was that it might be boring. It's not that I particularly have anything against pornography; but what's taboo now and what was taboo over three decades ago are different things, and besides that; you can only watch people having sex for so long before it begins to get dull. However, I was wrong; the film isn't boring, and while the focus is usually on sex; there actually is a story, and it actually is quite interesting! The film is unlikely to appeal to people that are interested in the more perverted side of sex as the film doesn't feature anything above lesbian sex, but the tender way that the story is presented as well as the French style give it a very erotic feel throughout. The plot, as you might expect, focuses on the character 'Emmanuelle', a young woman that lives with her husband; an older man, in Bangkok. They share a sort of teacher-pupil relationship, and they're also very liberal where adultery is concerned, as neither one cares too much about the other's antics with other people.

This film inspired a barrage of slightly less tasteful sequels, as well as a range of Italian films, many of which were directed by sleaze God Joe D'Amato. I don't think the filmmakers intended Emmanuelle to be associated so closely with sleaze, and actually at times; it doesn't really feel like a porn film; more of a drama with sex. I've got no idea how many taboos this film broke upon it's release over three decades ago, but the fact that it doesn't really break many today does it a favour where class is concerned as the film never feels too dirty, and this bodes well with the high class of the lead characters and setting. Sylvia Kristel takes the lead role, and is believable as a sexually naive young woman. She is joined by a number of eye-pleasing actresses, including Christine Boisson and Marika Green, and all get to take their clothes off in several scenes. The settings in which it all takes place are pleasing also, and the film is of a much higher class than a lot of nowadays porn. I'm surprised that Emmanuelle still has a notorious reputation, as it's only soft-core at best; but it's definitely worth seeing, if only to see how much things have changed!

Pac-Man is the grand old man of video games, Hulk Hogan is the grand old man of pro wrestling; Sylvia Kristel is the great dame of the softcore porn industry, and even today is still revered for her role as Emmanuelle.

Emmanuelle came out in the swinging seventies and still stands as one of the finest films of the genre. The Emmanuelle series features great scenery from exotic parts of the world, superb sensuality, and the fact that man-made babes are disallowed here.

22 year-old Kristel plays Emmanuelle (based on author Emmanuelle Arsan's erotica), a recently married young woman who is quite new to the world of sensuality. Married to a much older man, and free to explore her sexuality without any consequence, we see her going from place to place, yearning to learn more.

There's a lot to like here. Steamy settings in Thailand, lust on a squash court, a great fight scene in which the victor would get to have a "philosophical discussion" with Emmanuelle, skinny dipping, and a neat trick that a showgirl can do with a cigarette are some of the attractions. Miss Kristel is absolutely gorgeous and plays the innocent beautifully. The acting is a lot better than the usual American softcore film is. A film worth a look; you'll look at these films at a different light after this one.

BTW, I've seen both the original and English-dubbed versions; in the latter, the voices for Emmanuelle and Marie-Ange (played by 17 year-old Christine Boisson) are whack and cute at the same time. Especially in their conversations.

The biggest cinema surprise hit of 1975, based on a book by Emmanuelle Arsan, made Dutch model Sylvia Kristel a famous actress. The first thing you'll notice is that over 30 years later, the fascination with the exotic is still strong. It was worth going to Thailand and present the real thing instead of shooting "Asian" scenes in a park in Spain or Italy like many other European film crews did at the time. And it surely is one of the very few erotic films where you have to pay attention to the dialogs. It was important to explain the bizarre idea of "freedom" which the scandalous novel had introduced - arguably a two-edged sword. It is said that dependency is humiliating, but aren't scenes like when Emmanuelle is given as a "prize" to the Thai boxer even more humiliating? Easy to see why the movie stirred up discussions - which made even more people want to watch it. The ambiguity of this "freedom" in "Emmanuelle" thus was used for marketing. In her autobiography "Undressing Emmanuelle", Kristel recalls one scene with real horror: near the end, when she is raped by the opium smoker. The young man didn't understand a word of what she or the director said, so he just grabbed her. Sylvia's disgust is visible, and if the sequels hadn't been softer, she probably wouldn't have made them. The first Emmanuelle film still was experimenting with both visual style and a provocative attitude; it may have created a certain formula even though it didn't completely obey its rules, since it was rather the more gentle and glossy second Emmanuelle film which perfected the formula. I voted 7/8/6/4/6/7 for the six cinema films of the series.

One of films like a box with memories. I saw it when I was teenager and the fascination remains intact after decades, more than the sexual impulses. Because , in bizarre way, it remains a manifesto about opened marriage, bisexuality, manner to expose sex scenes and bitter poetry of a story representing a frame or , in happy perspective, a sketch. And, no doubts, for the way to propose to viewer her Emmmanuelle by Sylvia Kristel. Short, seductive for late poetry and, sure, it sounds very wrong, innocence.

This was the first in a series of erotic films which were made possible by the increasingly liberal moral climate of the seventies and eighties and which enjoyed a success de scandale. The main character, Emmanuelle herself, is the attractive young wife of Jean, an older French diplomat in Bangkok, and the film chronicles her various sexual escapades. There is not, in fact, any real plot. Emmanuelle is seen having sex with her husband, with other men and, even more, with other women; lesbianism is, along with swimming, squash and cocktail parties, one of the main diversions of the bored ladies of Bangkok's French expatriate community.

Although this was one of the first productions of the mainstream cinema to deal with erotic subject-matter frankly, it is not particularly explicit. Much of the sexual action is implied, and what is shown directly is often shot from a distance. The eroticism of the film is softened by the way it is photographed. Outdoor scenes are shot in a blurry soft focus against a background of brilliant sunshine; indoor ones, by contrast, are generally dark or dimly lit. The leading actress, Sylvia Kristel, with her slim, boyish figure and the gentle beauty of her features, seems perfectly at home in this soft, unreal-seeming atmosphere. Nevertheless, there are still scenes that seem shocking even thirty years on. One of Emmanuelle's lovers, Marie-Ange, is a teenage girl only dubiously of the age of consent, something that seems to have caused less consternation in the seventies than it would do today. (The actress who played her was in fact eighteen, but the intention seems to have been to make the pigtailed, lollipop-sucking Marie-Ange a bisexual Lolita figure). Emmanuelle's Thai houseboy, aroused by the sight of her and her husband making love, pursues and has sex with one of the housemaids. It is never made clear whether or not this is an act of rape; the boundary between consensual and non-consensual sex is blurred in a manner which I found distasteful.

Like certain other Continental erotic films of this period, the 'Emmanuelle' series is marked by a certain pseudo-intellectual pretentiousness. This is particularly apparent in the second half of this film when the heroine, after being jilted by one of her lesbian lovers (the oddly named Bee), takes up with the elderly Mario, a man who, despite his grey hair and advancing years, fancies himself both as a lover and as a thinker. The rest of the film is frequently punctuated by Mario's thoughts on the meaning of life, carefully enunciated in a deep, gravelly voice, somewhere between an Old Testament prophet and an Orson Welles sherry commercial, which gives them the air of oracular pronouncements. Sex, in Mario's philosophy, ceases to be a taboo and becomes a duty. One owes it to oneself, and indeed to the world in general, to experience physical pleasure in as many ways as possible, with as many partners as possible, and to liberate oneself from all ways of thinking that might hinder one from this aim. The consequence of not doing so is that one will fail in one's solemn and sacred duty to Live Life To The Full.

It is this sort of Existentialism-Lite, Sartre meets Hugh Hefner, that makes the film seem so dated today, far more than do trivial period details such as Jean's sideburns or the garish lime-green paintwork of his sports car. This sort of cod-philosophy became one of the first casualties of the AIDS epidemic. If we watch 'Emmanuelle' today, it is not as an erotic experience, despite the undoubted charm of its heroine, and certainly not as an intellectual one, but as a slight, inadvertently amusing period piece. 4/10