Well Deserved Praise

Really Surprised!

A Brilliant Conflict

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Notorious sexual adventuress Emanuelle (the always ravishing Laura Gemser) renounces her sinful past and decides to enter a convent as a cloistered nun (!). Naturally, Emanuelle finds it difficult to stick to her vow of chastity when temptation rears its sultry head in the form of enticing teen nymphomaniac Monica (yummy blonde Monica Zanchi). Moreover, lecherous escaped criminal Rene (Gabriele Tinti in fine lusty form) shows up seeking refuge in the convent. Director Guiseppe Vari, working from a nicely lurid and absurd script by Marino Onorati, relates the entertainingly racy story at a steady pace, ably crafts a deliriously erotic atmosphere, and, most importantly, delivers a pleasing plenitude of delicious bare distaff skin as well as loads of sizzling soft-core sex that includes steamy lesbianism, straight copulation, red hot daughter-stepmother quasi-incest (extra points to gorgeous slender brunette Dirce Funari as said stepmother), and even a little bondage. While Gemser is her usual beautiful and desirable self, it's Zanchi who positively burns up the screen with her scorching uninhibited portrayal of one extremely brazen, shameless, and manipulative slut supreme. Pretty Vinja Locatelli likewise impresses as mousy virginal nerdette Anna. Guglielmo Mancori's glossy cinematography gives the picture a neat polished look. Stevio Cipriani's bouncy'n'funky score hits the get-down groovy spot something sweet. Worth a watch for Emanuelle fans.

In its entirety, as far as such can be ascertained, the BLACK EMANUELLE series certainly shapes up as an odd collection of sorts. Its "official" entries, and remember that we're already dealing with an Italian rip-off of a French film franchise, have been generously supplemented by tangentially tied-in trifles where the mere presence of Indonesian leading lady Laura Gemser gave rise to an impromptu affiliation, often through adversely affixing the EMANUELLE moniker regardless of narrative consistency. Henceforth, Enzio D'Ambrosio's sedate LA SPIAGGIA DEL DESIDERIO was widely released as EMANUELLE ON TABOO ISLAND, Mario Bianchi's genteel COUNTRY NURSE got far more play dates as EMANUELLE IN THE COUNTRY and German Christian Anders' severely twisted LOVE CAMP became DIVINE EMANUELLE. No mean feat considering Gemser's character isn't actually called Emanuelle in any of these !Whilst a bit of a mongrel, at least SUOR EMANUELLE remains relatively close to the trajectory mapped out by Bitto Albertini in the initial installment and, especially, the shameless Joe D'Amato in its bona fide sequels. Turning her back on a wicked past, which seasoned viewers will automatically associate with her globe-trotting, absolutely anything for a scoop wanton ways as the intrepid photo journalist, Emanuelle has entered the convent, doling out spiritual succor to the wayward young girls in her charge. She definitely has her work cut out for her with feisty Monica Catsabriaga (Monica Zanchi) who was caught in flagrante with her hot new step mom (delectable D'Amato regular Dirce Funari, who was in both PORNO HOLOCAUST and EROTIC NIGHTS OF THE LIVING DEAD) by her elderly businessman father, played by Spaghetti western veteran Rik Battaglia. Poor Em's vow of chastity barely survives the train ride back to the nunnery when a very nude Monica slips between her sheets to seek solace from the raging thunderstorm outside ! Somewhat surprising for such an exploitative type of cinema, the good sister's devotion is actually handled with a degree of seriousness. She only reluctantly surrenders to escaped convict René (adequately portrayed by her then real life husband Gabriele Tinti) when the mischievous Monica tricks her into believing that he will otherwise forcefully take the maidenhead of her pious roommate Anna. Once she learns of this betrayal, Emanuelle literally lets her hair down and, well, kicks the habit, reverting back to the sign of the crotch in a last ditch attempt to straighten out the incorrigible teen seductress. With Gemser's sensational slender frame (predating the present day supermodel ideal) perversely covered up until the final act, most of the film's ample nudity's supplied by succulent Swiss starlet Zanchi, a memorable presence in both D'Amato's over the top EMANUELLE AND THE LAST CANNIBALS and Mario Gariazzo's saucy space opera THE COMING OF ALIENS. Her temptation of Anna (lovely one shot Vinja Locatelli), who assumes she's a mere obstacle on the road to sainthood, provides an effective combination of heat and humor, indicative of the narrative tone's gradual shift from semi-serious to fully fledged fun.The lightness of touch, which precludes anything really nasty happening to anyone, makes for a welcome change of pace from Emanuelle's past adventures, too frequently interrupted by rape and assorted violent outbursts for comfort. One reason for this is that the late Giuseppe Vari a/k/a "Joseph Warren" was hardly a sex flick regular and therefore perhaps less jaded than the dyed in the wool D'Amato. He was rather a workmanlike if dependable dispenser of varied genre fare like ROME AGAINST ROME a/k/a WAR OF THE ZOMBIES and DJANGO THE LAST KILLER, whose only other foray into risqué territory was his frothy RIBALD DECAMERON with the magnificent Malisa Longo. Further explanation for the film's idiosyncratic flavor amid the EMANUELLE canon comes from the man responsible for its commendably coherent screenplay, Marino Onorati, whose stock in trade is all sweetness and light as evidenced by his scripts for most of the major Italian sex comedy superstars like Edwige Fenech on various SCHOOLTEACHER and POLICEWOMAN projects and Gloria Guida as LA LICEALE. Hazy soft focus photography by Guglielmo Mancori, who shot Umberto Lenzi's underrated giallo SPASMO as well as Lucio Fulci's badly bungled MANHATTAN BABY, elevate this effort to a loftier level of cinematic carnality. Stelvio Cipriani's infuriatingly infectious score, practically screaming Seventies Euro sleaze at the top of its lungs, provides the icing on the cake for any none too self-respecting old school skin flick aficionado.

Monica (Mónica Zanchi) is a very naughty girl. She gets caught with her young stepmother (Dirce Funari) - "But, dad, you told me to be friends with her!" - and is sent off to boarding school run by nuns. One nun in particular is Sister Emanuelle (Laura Gemser, a veteran of many "Emanuelle" films).Monica proceeds to seduce her roommate(Vinja Locatelli), sets up an escaped criminal (Gabriele Tinti) in the tower, and tricks Sister Emanuelle into breaking her vowels as she lies and schemes.The sex is hot and heavy - schoolgirl on schoolgirl, criminal on schoolgirl, and criminal on nun. There isn't much to distract from the sex as there is little else going on.It's a good story with a really funny twist at the end.

There is a lot of variety in the Emanuelle series, and as such; a lot of strange and rather silly ideas; but having Laura Gemser dressed up as a nun and living in a convent is surely one of the silliest! I'd even go as far as to say that this plot could be considered blasphemous! Clearly, this film is just an attempt by director Giuseppe Vari to cash in on both the Emanuelle series and the nunsploitation wave in one fell swoop, and as is the case with a lot of the Emanuelle flicks; the only thing that really ties this film to the rest of the series is the lovely leading lady, Laura Gemser. Apparently, Emanuelle has decided to renounce her shady past and has taken up residency inside a convent. She is given the task of looking after the young and beautiful Monica; a girl who was dropped off at the convent by her wealthy father. However, it's not long before the young girl's outlook on life begins to rub off on the previously promiscuous "nun" and Emanuelle begins to question whether or not being a woman of God is actually a suitable career path...In the context of the rest of the series, and considering that there is no explanation for Emanuelle's sudden change of attitude, it has to be said that the plot line featured in this film is absurdly ridiculous. However, the film clearly isn't meant to be looked at that way and as a stand alone nunsploitation flick; Sister Emanuelle is excellent, and by far my favourite of the ten or so Emanuelle flicks that I've seen. The film does represent a real change of pace for the series as for most of the film; Emanuelle is retracted to a nun's habit and doesn't feature in as many sex scenes as we're used to. That isn't a big problem, however, as this time Laura Gemser is joined by the beautiful Swiss actress Mónica Zanchi, who pretty much takes up the lead role. Unlike most Emanuelle films also, this one actually has a couple of themes going on; namely, the corruption of innocence, and judging by the ambiguous ending, there also seems to be something in there about how a person like Emanuelle is not going to be able to abandon what it is she stands for. Overall, this is a very good little film and comes highly recommended to both Emanuelle fans and exploitation fans in general!