Must See Movie...

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

If it was popular in America, you can bet that there will be an Italian rip-off of it, and obviously 'Black Emanuelle' is a rip-off of the successful French porn classic 'Emmanuelle'. Black Emanuelle would go on to become a very popular franchise in Italy, with the insatiable Laura Gemser getting up to allsorts, including an outing into the jungle with cannibals, escaping from a women's prison and going to Bangkok under the direction of such trash film luminaries as Joe D'Amato and Bruno Mattei. This first outing is tamer than some of the later stuff, but still should satisfy fans of this series. Naturally, the plot focuses on Emanuelle, a young journalist who travels to Africa on an assignment (to have sex with as many people as possible, I think). She gets herself involved with a couple named Ann and Gianni Danieli who are having marriage trouble and both turn to the young journalist for a bit of 'comfort'. Naturally, things go a bit awry and Emanuelle is forced to flee Africa, but with Gianni on her tail...In terms of plot, this film is not all that exciting and clearly it's all just an excuse to show as much sex as possible. This actually isn't all that much of a bad thing as Laura Gemser obviously relishes this role and seeing her with her clothes off is what most people will be tuning in for anyway. The music is superb and the title track is absolutely pure seventies trash flick gold and is sure to delight fans of this stuff. Director Bitto Albertini is not a well known cult name but he has a background in cinematography and as such the film looks very nice, which compliments the central theme nicely. While Emanuelle would go on to become something much less than innocent in all of the later series efforts, this film focuses more on her losing her innocence than the actual sex and that works fairly well as that is basically what the original French film was about. Overall, I cant say that this is one of my favourite films and I do prefer some of the later efforts in this series, and the original French film, but Black Emanuelle is certainly worth a look if only to see the start of one of cult cinema's most popular series'.

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.

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!