August 12, 2005


What Emmanuelle achieved for soft-core gloss Emanuelle achieved for (on occasion) hard-core sleaze. Due to the success of Jaeckins movie in Europe, Italy created their very own version. To avoid bureaucracy and copyright the ‘m’ was dropped from the name and Emanuelle was created; or Emanuelle Nera to be precise. A Eurasian beauty Laura Gemser become the heroine and developed a taste for independency. Emanuelle was a freelance photographer and her missions would take her all round the planet. As her character explored new landscapes so the plots placed Em in all sorts of dodgy situations and amourous encounters.

A whole plethora of Emanuelle adventures exploded into the exploitation ether. The most notorious were the collaborative efforts between Joe D’Amato and Laura Gemser. Emanuelle in America has to be the most definitive Em movie, going just as far as you could possibly go with the character and story. This charming beast has the lot hardcore inserts, snuff movies and a (not as bad as it sounds really) bestial moment ‘tween gee-gee and strumpet. You can’t really descend any lower than that. The result is an amazing piece of trash cinema that never fails to disappoint on shocks and nasty expectations.

The ‘genre’/ exploitative versions of Em began with ‘Emanuelle Nera’ (Black Emanuele) in 1975 and continued with the equally exploitative Emanuelle Nera No.2 in 1976, directed by Alberto Albertini. In this version Gemser is replaced with the stunning and bustier Shulasmith Lasri (a.k.a Sharon Leslie) who deals with memory loss, bouts of uncontrollable nymphomania and body painting due to a vicious gang rape by a group of bikers. This cocktail of naughty-naughty will be reviewed in the future.

The films varied in content and theme, quality and concept, actress and director and most certainly budget, but despite all this they all managed to keep hold of that sleaze factor. Although I have only touched upon some of Emmanuelles’ most exciting cinema shag fests we must be aware that some are absolute crap that you need to avoid as it will be a total waste of your time. Even the most ardent Gemser fan must agree some of the vehicles for her are mind numbingly tedious and the Emanuelle moniker is used in name only for sales purposes. I am afraid to tell you that not all Emanuelle movies are of the ‘in America’ variety.

As the fictional ‘Em’ moved places cinematically so the brand travelled to various parts of the globe introducing a cosmopolitan blend of directors to the Emmanuelle/Emanuelle phenomenon. Even the oppressed Brits had their own attempts of realising their ideas about sex onto the big screen with Emmanuelle in Soho and the embarrassingly lame celluloid abortion ‘Carry on Emmanuelle’ in 1978.

Whatever class, culture or demographic Emmanuelle seems to find her niche. A role model for the liberated and an enigma for the oppressed.

On the exploitation front many of her movies are now being ducted off and will see our living room shelves courtesy of these wonderful ‘fringe’ cinema DVD labels. Forthcoming is the Black Emanuelle box set to compliment the first one containing all three ‘original’ Emmanuelle films.
It will be a long time before we see all Emanuelles’ incarnations on DVD and especially in a pristine format but until then make do with what’s out there. I make no recommendations or avoidances as the weird, wild world of Emmanuelle has something in store for most tastes and fantasies, she’s dieing to meet you.

Emmanuellography / Emanuellography

I have tried to list as much info on the Emmanuelle/Emanuelle phenomenon as possible but this list is nowhere near exhaustive. The ‘Em’ brand is still going strong today, the ones listed are the ones you have access to or are frequently referred to more than others. If of special interest will denote *. I will try to get round to viewing as many as I possibly can and will be a joy doing so.

The Tender and Perverse Years

1967 Emmanuelle by Emmanuelle Arsan (Maryat Rollet-Adriane) published in France*

1971 Emmanuelle published stateside.

1969 Io, Emmanuelle – Erika Blanc (Italy)

1973 Emmanuelle – Sylvia Kristel (France)

1973 Tender and Perverse Emmanuelle – Norma Castell (France)

Emanuelles’/Emanuelles’ Belle Époque

1975 Emmanuelle 2 – Sylvia Kristel (France)

1975 Emanuelle Nera – Laura Gemser (Italy)

1975 Forever Emmanuelle – Annie Belle (Italy/France)*
*Directed by Emmanuelle Arsan. The movie is also known as Laure.

1976 Emanuelle Nera No.2 – Sharon Leslie (Italy)

1976 Emanuelle in Bangkok – Laura Gemser (Italy)

1976 Emanuelle on Taboo Island – Laura Gemser (Italy)

1976 Emanuelles’ Revenge – Rosemarie Lindt (Italy)*
*Also commonly known as ‘Blood Vengeance’

1976 Emanuele Bianca e Nera – Malisa Longo & Rita Manna (Italy)*
*Not to be muddled with Black Emanuelle, White Emanuelle, this movie is supposed to have Emanuelle having many a dalliance at the time of the plantations and slavery, would love to see it but would imagine it to be a rare beauty.

1976 Yellow Emanuelle – Chai Lee (Italy)

1976 Emanuelle in Tokyo – Katsunori Hirose (Japan)

1976 Nea, a Young Emmanuelle – Ann Zucharias (France)

1977 Goodbye, Emmanuelle (Emmanuelle 3) – Sylvia Kristel (France)

1977 Emanuelle in America – Laura Gemser (Italy)

1977 Emanuelle around the World – Laura Gemser (Italy)

1977 Emanuelle and the Last Cannibals – Laura Gemser (Italy)

1977 Sister Emanuelle – Laura Gemser (Italy)

1978 Emanuelle & the White Slave Trade – Laura Gemser (Italy)

1978 Emanuelle in the Country – Laura Gemser (Italy)

1978 Emanuelle the Seductress – Laura Gemser (Italy)

1979 Emanuelle Queen of Sados – Laura Gemser (Greece)

Emanuelles’/Emanueles’ Departure

1981 Emanuelle in Soho – Angie Quick (G.B)

1982 Emanuelle Queen of the Desert – Laura Gemser (Italy)

1982 Emanuelle Reports from a Womens Prison – Laura Gemser (Italy)

1983 Emanuelle in Prison – Laura Gemser (Italy)

1983 Unleashed Perversions of Emanuelle – Laura Gemser (Italy)*
*Not a unique Emanuelle film but a rehash of Gemsers’ previous outings with a narrative chucked in for good measure.


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