BLACK EMMANUELLE'S BOX (Volume Two)

BLACK EMMANUELLE'S BOX (Volume Two)

A cinematic embodiment of lust, sexual anxieties, and exploitative adventure, the notorious Emannuelle series may seem a bit dated after decades of increasingly graphic carnality and more permissive stances towards pornography, but it is still capable of raising eyebrows (among other things)! Emphasizing sexual permissiveness and hedonism with an explicitness unprecedented for its time, the Emmanuelle series was physically raw and emotionally intensive. Celebrating 'classy' filth, sleaze, and erotic adventure, the elegant first entry quickly gave way to more shocking exercises in brutality and shock, merging adult content with other bankable genres. The 'Black Emanuelle' films found the most fanatic favor with audiences. These scandalous incarnations starred Laura Gemser, whose first involvement with the series saw her playing journalist Mary Jordan, known to her fans as just 'Emanuelle.' When D'Amato took over the character, he ushered in a whole new age of sin. Exploring practically every taboo known to man, Emanuelle uses a careful, winning formula of sex and sleaze and adventure to peddle its starlet's luscious wares. Despite the reams of social critique the careful viewer can identify, the main reason to watch these pictures is titillation, something which these films excel in . . . when they can be found in their appropriate uncut condition. Following the successful Black Emmanuelle's Box, Severin Films, a champion of eroticism, brings us three more hard to find, eccentric titles. Volume Two includes for the first time uncensored and complete Black Emmanuelle (2), Emmanuelle and the White Slave Trade, and Black Emmanuelle/White Emmanuelle.

EMANUELLE AND THE WHITE SLAVE TRADE

Joe D'Amato was a one man definition of exploitation throughout the 1970s -80s, crafting some of the genre's most cynical, violent, and morose films. Devoted to breaking taboos of cultural taste and aesthetic acceptance, this cinematographer-turned-director soaked minuscule budgeted explorations of physical carnage in blood and sex, merging horror and eroticism (or more often, plain old smut) long before it had become a Hollywood cliché to do so. Lacking the fine tuned technological principles of Bava or the poetic lyricism of Argento, D'Amato was more interested in exploiting primal human hungers than in developing subtle characterizations. Bloody spectacle was his meat and drink, and on such grim pleasures as Blue Omega and Anthrophagus he fed well. Revelling in the intimate exploitation of such basic, animalistic human behaviours as violence, and sex -- and in such emotions as repulsion and desire -- D'Amato found a perfect franchise with which to spin his cum-drenched spectacles with Emmanuelle. D'amato found in the seductive yet earthy Laura Gemser a physical embodiment for his aesthetic principle -- a living peep show -- whose mixture of raw sexuality and free-spirit he deftly (if with broad strokes) injected into cinematic stories of prostitution, the snuff industry, and cannibalism. In Emanuelle and the White Slave Trade he indulges his taste for pure exploitation, diving into sleaze with characteristic (indeed, almost childlike) innocence. Severin rescues this delightfully demented homage to sex and slavery with a first rate transfer and intriguing extras, lending the movie a respect never before attained.

In a plot whose sole purpose is to allow the lovely Gemser to disrobe and have sex with various cast members in thrilling locations (and amidst a fast-paced, sensationalistic narrative), Photo journalist Emmanuelle finds herself embroiled in an illegal operation of danger and deceit. One day while trying to interview a noted criminal, she notices a girl being pushed in a wheelchair through the airport. When she notices the same pair in another country, her interest is raised, and she investigates. Her research leads her to a secret criminal organization that buys and sells attractive women for the sex market. Of course she goes undercover (where we'll be able to see her used, fondled, and lovingly abused), but finds herself in intimate danger, discovering perhaps too late that her journalistic integrity might cost her more than she's willing to give.

Beginning his sleazy, fetishistic sequels of the Black Emmanuelle series beginning with Emmanuelle in Bangkok (1976), D'Amato tapped more fully than any other director into the sheer sensuality of the Emmanuelle character. Merging this basic sex appeal with a number of exotic setting to mirror the on-screen sexuality, he also added copious amounts of violence and sombre atmosphere to the mix, resulting in films that managed to both arouse and repel. D'Amato's vision is luridly attractive at the same time that it invites repugnance, and it is within this sense of friction that his over-simplistic stories, loosely plotted stories succeed. Raw spectacle is the order of the day, the reason to loose one's self in this lurid hymns to lesbianism, penetration, group sex, and occasional terror. The performances are as broad as the themes, and just as sensationalistic. D'Amato need make no apology for this, or for his obvious love of softcore gymnastics, for he announces right from the beginning that his motivation is to entertain as a simple voyeur, and his adoring gaze lingers over Gemser with equal parts delight and sordidness. Emmanuelle and the White Slave Trade is Italian exploitation at its most primal. The film is lent energy and an enjoyable sordidness by D'Amato's leering gaze, his simple yet effective compositions, and an obvious instinct to milk crass excitement and perversion from the simplest of premises. Following Emmanuelle Around the World (1977), Emmanuelle in America (1977), and Emmanuelle and the Cannibals (1977), nor as horrific and violent. Still, it manages to arouse on a simplistic level, with the director painting his canvas of excess across Gemser's sexuality every chance he gets.

Uncut and anamorphic, Severin's presentation of this roughie is pure poetry compared to the horrible bootlegs circulating. For the most part grain is absent, the images are clear and sharp, and color schemes attractive. The English dubbed track is clean and efficient. Extras include the Italian Trailer and "After Hours with Joe D'Amato," a video interview from a convention wherein the late director is obviously having a grand time discussing his career in sin and skin.

BLACK EMMANUELLE/WHITE EMMANUELLE

Following the exploitative wonders of D'Amato's Emmanuelle and the White Slave Trade, Gemser once again spread her legs and honed her, er, 'acting' talents in what may be one of the most successful erotic series to ever find favour amongst genre and mainstream fans alike. In Black Emmanuelle/White Emmanuelle, Gemser's cheeky, free-lovin' character is placed amidst an emotionally heated if lacklustre and disjointed plot. In fact, there isn't really any plot of consequence to speak of, simply scene after scene of pillow-like flesh writhing and gyrating for the camera. Anything resembling character development or thematic relevance is slapped aside for pure exploitation. Whereas this is never a good idea, as a movie is nothing without story, the copious amounts of sleaze are eye catching to be sure, and no one ever suggested that the Emmanuelle films were pinnacles of storytelling.

Also known as Emanuelle in Egypt, this film is a weird if surrealistically satisfying marriage of surrealism and sensuality. When a fashion model and her friend travel to Egypt, they meet a holy man who sparks of an orgy of self exploration and unbridled desire. While not truly a proper Emmanuelle film, linked by title and the appearance of actress Gemsar only, Brunello Rondi (a collaborator with Fellini) is clearly more interested in capturing the wild vistas of spiralling locations and the naturalistic frenzy of sex than in developing a story. Sensationalism is embraced by such characters as Carlo, who likes to photograph beautiful women next to corpses, and by the amount of mean spirited depravities that Gemser experiences.

Uneven and crass, this entry in the series is a typical soft-core romp energized with moments of surprising cruelty and beautifully captured eroticism. Exploitation is the name of the game. Too bad that Gemser isn't encouraged to try out her acting chomps. At least as eye candy the film succeeds, as Gemser stars alongside the equally enticing Annie Belle (House on the Edge of the Park) and Giallo starlet Susan Scott. The direction is competent if not overly stylish, capturing the dripping essence of sexual liberation and experimentation. . . If doing nothing with it. Awkwardly poetic in its simplicity, E but unable to sustain the friction or heat of a few carefully constructed sequences.

Severin rescues this rare Gemser gem from obscurity, including choice bits of skin and cruelty that were removed when first released (primarily when at all on the grey market in horrible looking dupes). This cleaned up and complete version is nothing short than a complete restoration of a film that most companies wouldn't even touch, retaining the surprisingly attractive scope framing. While not consistently excellent in picture quality (as many of Severin's releases are), the image transfer is proficient, giving way to little grain or soft imagery (which often depends more on lighting). Audio is a nice surprise, featuring both the English and Italian dubs, the later with optional subs.

Extras for this romp fest include the Italian trailer and "Black Velvet," a video segment where Cliver, Gemser, and Belle discuss their roles in the film, the experience of making the motion picture, and, more interestingly, his reflections on D'Amato and Visconti.

BLACK EMMANUELLE (2)

One of the more eccentric and uneven of the series, Black Emmanuelle (2) lacks the visual intensity and surrealistic flourishes of the first two films in this Severin set; it also lacks the overall excitement that helps make even the worst plotted entries in this unique series enjoyable. This is in no small part due to the lack of Gemser, whose role as the ebony goddess helped make each film since 1975 bankable. Sharon Lesley lacks the body and chemistry -- the presence -- required to make Emmanuelle's larger than life presence live. This lack of star power is mirrored by lazy directing and virtually no plot. Thankfully, there are enough elements of deranged sleaze-scenarios to keep the less discriminating flesh hound watching.

Beginning with a breast heaving bang, Black Emmanuelle (2) begins with our less salacious Emanuelle suffering a number of humiliating erotic scenarios, including Nazi-like interrogations, police state shenanigans, and some hard time at an old south plantation. Revealed to be a series of over-sexed dream-fantasies, we find that this Emmanuelle is experiencing sever sexual hallucinations and undergoing intensive treatment at a poorly depicted if chick mental institution. Her Doctor, Paul, tries to lead her through the labyrinthine byways of her psychosis. But she's more interested in getting into men's pants than to the bottom of her troubles. Sexual neuroses and erotic mishaps abound as we chart our way through several fetishistic flashbacks and traumas, many of which turn out to be untrue. Amidst all the psychological drivel -- or perhaps because of it -- some unintentionally comedic moments are snuck in between the usual helping of bare naked babes and lapses of logic so large you could drive a semi through them.

Black Emanuelle is for people who don't like to think about what they're watching too deeply. As sexploitation it is fairly entertaining. As erotica, it is disappointing. Despite a lack of narrative tension or plot, the Severin disc is important historically, as the film appears to be complete, including several bits of violence and sexual enticement that late night cable TV didn't dare include when this offbeat title showed up on the boob tube. The quality of the print doesn't compare to the technical enhancement of the first two films in this collection but is decent considering the age and probable condition of the source. Featured in anamorphic widescreen, there are some problems with grain and soft image, but for the most part, this is an enjoyable presentation of a film that maybe doesn't deserve it. Audio is featured in dubbed English.

Extras for this fractured flesh feast include an English theatrical trailer that is a greatest hits package of skin and, more interesting, "Diva 70," an intriguing video interview with Lassander, who discusses her career and personal life at length, including such tid-bits as her husband's changing attitudes about her work and her time acting for such macabre luminaries as Bava and Fulci.

* * *

Another home run (even if the titles are unevenly matched), Black Emanuelle's Box (Vol 2) is an impressive and eccentric achievement. Wonderfully packaged, the set features a front flap that opens to reveal Laura Gemser in full frontal glory. And although once you open Gemser's box you won't find the attractive color lobby cards from the first set, you DO receive still another CD crammed full of three Emmanuelle scores by Fidenco. This includes not only music from Emmanuelle and the Last Cannibals and Emmanuelle in America -- the later of which is in stereo! -- but, most surprisingly, the soundtrack for White Slave Trade. A must have set for aficionados of D'Amato, Emmanuelle, and/or eclectic sexploitation!

Review by William P. Simmons


 
Released by Severin
Region 1 - NTSC
Not Rated
Extras :
see main review
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