Black Emanuelle

Laura Gemser is one of the best actresses in the Emmanuelle movies. She has a sure, sexy, friendly, erotic, girl that you could meet & not be snubbed by attitude that puts her over the line in my opinion. She gets in these situations with ease & is not only good to look at, but makes her role believable. Her sex scenes are enough to melt the heart of a statue. The story line is ok, the soundtrack is good, the acting is fair, but Laura makes the movie what it is, kind of like how Jack Nicholson can steal the movies he acts in.

The first of many Emanuelle (spelt with only one 'm') films, this Italian rip-off of the famous French sex classic Emmanuelle (two 'm's) sees its sultry star Laura Gemser as journalist/photographer Mae Jordan (known professionally as—you guessed it—Emanuelle), who is in Africa for her latest assignment. Her employers are married couple Ann and Gianni Danieli (Karin Schubert and Angelo Infanti), who supposedly want our sexy snapper to capture shots of African ruins, but seem more interested in getting her into bed (and who can really blame them? The lovely lens-woman is gorgeous and gagging for it!).

What follows is a string of silly soft-core couplings with Gemser and her free-loving associates getting busy with each other at every available opportunity; these are interspersed by some really dull exposition about Ann and Gianni's marital troubles (which serves as the basis for the weak plot), some non-sexual nudity including a hilarious photographic session with Ann going back to nature (pretending to be a gazelle!), plus a little bit of 'padding' in the form of National Geographic style wild-life footage.

Director Bitto Albertini's handling of his material is, for the most part, fairly routine, although he does excel when it comes to delivering very unsubtle suggestive imagery: in particular, Ann's sex scene with a garage mechanic is made all the more entertaining by the juxtaposition of shots of a petrol nozzle filling up a car, whilst Emanuelle's naughty encounter with a hockey team whilst on a train is inter-cut with the locomotive's piston pumping rapidly in and out. Hardly a stroke of genius, but very funny!

Later entries in the series, helmed by sleaze-king Joe D'amato, combined Genser's soft-core romping with other exploitation sub-genres, making for more satisfying films as a whole. This one, however, is content to simply show as much naked flesh as possible without ever crossing the line into hard-core territory. It's just about worth catching if you're a big fan of Ms. Gemser and/or very trashy films in general, but probably of little interest to anyone else.

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.

This "Black Emmanuelle" is a typical Italian cinema product of the 70's. Whenever there was a new & popular trend at the movies, whether it was in horror, Sci-Fi or drama, Italian cinema would immediately cash in on it by rapidly creating their own equivalent. The story basics would be pretty much identical to the original product, but the Italian version would distinguish itself with either more gore, more violence or (much) more sleaze. Following the immense success of the French film "Emmanuelle" starring Sylvia Kristel (bearing in mind that, for once, that film already is a rip-off itself), Italy came up with its own insatiable sex nymph who ends every line she says by taking her top of. The gorgeously stunning Laura Gemser plays a photographer called Emanuelle (notice how there's only one "m" in her name to avoid legal difficulties) who travels to Africa for...no particular reason, actually! No reason other than to have random sex with a bunch of rich males and females that do nothing all day but throw parties and lay down by the pool. The film itself is quite dull, with the exception of several beautiful shots of the African wildlife, but Gemser is pure candy to look at and the original music by Nico Fidenco is among the best I've ever heard. This first film in a series of 8 starring Gemser strangely also is the least eccentric and most common one! The directing would later be taken over by the infamous Joe D'Amato who transformed Black Emanuelle into a trashy sex-guru that shows her sexual skills in all the corners of the world, from Asia to America and even among cannibal tribes and inside female prisons! In this first film, Emanuelle still is a sensitive and emotional girl whereas she's be a dominating shrew in the later films. No extreme sleaze-stuff happening here, like horse-masturbating for example (check "Emanuelle in America") which is probably why my national TV-station programmed it on Saturday night. However, if you happen to have an original copy, you should treasure it, as this is an extremely rare and hard to find movie!

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.