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The reviews so far on IMDb seem to be split down the middle regarding "La belva dalle calda pelle," also known as "The Dirty Seven" and "Emanuelle, Queen of the Desert." The majority of the negative reviews seem to base their criticisms on the fact that it is clearly not an official Emanuelle film (Laura Gemser is in fact called Sheila in the movie) and a flashback sequence that is over thirty minutes long, while the positive critiques make no mention the flashback, which is absent in the version known as "The Dirty Seven." This and the original Italian title make no allusion to Emanuelle. In this form the film is much more linear with only one very brief flashback where Sheila finds the dead body of her sister, thus establishing her motive.

It should also be noted that Gemser is not introduced into "The Dirty Seven" until a substantial amount of time has past, where in the "Queen of the Desert" she appears almost immediately.

I contend that the former is director Bruno Fontana's actual vision and that the "Emanuelle" version was re-edited (by someone other than Fontana) to cash in on Gemser's "Black Emanuelle" status.

While I may be stating the obvious, I wish to appeal to those negative critics and let them know that this film exists in two entities, under two different titles and to think twice before blaming Fontana for "Emanuelle, Queen of the Desert," it's slapped-on title and its shoddy chronology.

No, this is not the best film ever made. Okay, not even close, but there are some fine actors here: George C. Scott, Ed Flanders, Jason Miller, Scott Wilson, Brad Dourif, Lee Richardson and Nicol Williamson. All their performances are good, given what the performers have to work with.

I have a hard time blaming William Peter Blatty for the inadequacy of the finished film. I am only presuming, of course, but it looks like it was one of those situations where studio heads were not comfortable with the director's vision made a cut of the picture on their own leaving the narrative a confusing clutter of somewhat incomprehensible scenes.

But I still can't help being drawn to this movie. I saw it again tonight and, unexpectedly, sat through duration without regret. The first time I saw it was back in '91 or '92 when it was first released on cable. I was fifteen or sixteen at the time. I was not oblivious to its flaws but at the same time was reassured by the fact that I was not sitting in an uncomfortable theater or had paid seven dollars for a bad movie, and could leave or change the channel anytime I wanted. But I found I did not have to do that, as I was satisfied with the good things the film had to offer me. It also made me an avid fan of the late Mr. George C. Scott. Now nearly ten years later, at twenty-six, I found the film had even more to offer me. I was particularly intrigued by the dialogue between Scott and the late, great character actor, Ed Flanders. Though the screen time is short, I think it leaves the most redeeming mark of the film's integrity, and Brad Dourif is wonderful as the Gemini Killer. It was also interesting to see Jason Miller after so many years.

If anyone's negative feeling about this movie has allowed them to color their perceptions of William Peter Blatty as a director, please see his 1979 film, "The Ninth Configuration," starring Stacy Keach, and also with Flanders, Wilson and Miller.