LAURE

LAURE

The name Emmanuelle has long been synonymous with salacious living, sexual freedom, and artfully conceived smut. A phenomena bigger than life, the series began life as Io, Emmanuelle (1969), starring Erika Blanc. The series really took off with the 1975 version starring Sylvia Kristel, provoking moral outrage by fully embracing its X-rated catalogue of free love, infidelity, and soft-core sex. Several more sequels with Kristel followed, including the notable skin-slapping Black Emanuelle (2) (Joys of a Woman). In true cannibalistic fashion, European spin-offs were being made as well, most notably (and exploitatively) in Italy. And while Kristel gave up her part after a few roles, realizing that she was becoming too old for Emmanuelle's exploits, the character as a title and representative of sexual liberation continued to thrive in such guises as the 'Black Emanuelle' films. These scandalous incarnations starred Laura Gemser, whose first involvement with the series saw her playing a journalist in Emanuelle Nera (Black Emanuelle), directed by Albert Thomas. D'Amato. Her presence would soon grace the screen in such flesh feasts as Emanuelle in Bangkok, Emanuelle in America, and Emanuelle Around the World. Under Joe D'Amato's hand, the evolving series would leave its soft-porn origins and become something meaner, something filthier. Embracing rape, incest, lesbianism, and bestiality, D'amato's Emanuelle character has less to do with the theme of free love and sexual liberation and more to do with degeneration and degradation. Laure, long thought to have been crafted by the woman whose real-life exploits and open marriage inspired the first Emmanuelle film, retains the innocent sexuality and experimentation of the original film although it deals with a whole new cast of characters and story-line. Emmanuelle Arson -- the real Emmanuelle, displays true creative energy and insight into the human mind -- perhaps the sexiest organ of the human body, creating a fleshy world of surrender and control that explores the dangerously obsessive worship of Aphrodite. She does this with her presence, mirroring the just as sultry magnificence of Annie Belle. Yet the director and of this lush and intellectually dense day-dream of carnality was Emmanuelle's husband. Louis Rollet Andriane, a diplomat who needed to conceal his amorous life style, wrote both the original book Emmanuelle and the script for Laure, serving as director. He did a commendable job, as we may now see thanks to Severin's deluxe treatment of this unappreciated classic of abandon.

A plot that hinges on the emotional and physical quest for both dominance and subservience to the sexual instinct that tears its way so passionately through the succulent characters, Laure is a surprisingly serious, morally thoughtful examination of free will and erotic choice. Seductive Annie Belle (BLACK EMMANUELLE, WHITE EMMANUELLE) plays the titular role of Laure, an emotionally and sexually adventurous young lady with raging hormones and legs that just can't stay closed. Her free-spirit and sexually radiant figure matches the bold moral philosophy of pleasure with which the subtext of the film truly concerns itself with. At the Manila Institute for research, scientists and tourists wax poetic about the 'Mara tribe,' who have an odd annual festival of rebirth. During this rite, some of the tribe forget who they are and begin life anew. Laure, daughter of the institute's director, captivates photographer Nicola, and soon after they indulge their kinks for voyeurism and sexual freedom, they team up with Gualtier, an anthropologist, and his lover, Myrte. Mating with just about every attractive man and woman she meets in the sultry city of Manila, Laure is happy to join the jungle expedition. Awkward beefcake Al Cliver plays a filmmaker with his customary deadpan aplomb, and neither the anthropologist or his lover are safe from Laure's amorous attentions. Taboos are broken as Laure discovers more cultural norms to break in her determination to experience the ultimate pleasure. The sweaty action soon leads Laure to a native tribe where she engages in " the most shocking act of all," participating in the Mara tribe's rites.

Similar in theme to the Emmanuelle films, the approach differences from other films of its ilk, distinguishing it. Arson's husband's story is both realistic and sensationalistic, merging believable characters with pulp-like scenarios in an exotic jungle atmosphere that adds dramatic spectacle to the sex. However, whereas the Emmanuelle films often used a skimpy situational device to simply hurry Gemser, et all, to the next skin scene, the internal drives and back story presented here are more convincing. While the instinct for sex remains the motivating force behind Laure's character, and Arson's persona further smolders the flames, a more organic, honest feeling sense of fate makes its presence known. Arson's documented lifestyle as a free-loving globe-trotting explorer of carnality in no small way helps make the film stand out. Her contributions as co-star -- and some say writer -- inject the film with sexual allure, energy, and a throbbing sense of intimacy hard to beat. A fleshy embodiment of lust, sexual anxiety, and jungle adventure, Laure outclasses many of its cinematic cousins.

Proving yet again why it is indeed 'the Criterion of Smut,' Severin Films treats Laure like the Citizen Cane of softcore. Re-mastered picture and sound give this somewhat battered film a much needed face-lift. The 1:77:1 print (anamorphic) is an impressive orgy of sights and sounds, with flesh tones naturalistic and succulent. The female flesh on display is luscious, and no significant grain or scratches disturb the fantasy evoked by sensual performances. Audio is no dud either, captured in clean Dolby Digital Mono, which preserves the original score with additional clarity. No muffling or background sound of note disturbs this wonderful listening experience.

Extras can't help but be a disappointment after the wealth of material that Severin has included on such recent releases as Black Emmanuelle's Box, but as a stand-alone DVD this carefully assembled supplementary footage is both informative and enjoyable. The most provocative extra is 'Emmanuelle Revealed,' an interview with producer Ovidio Assonitis, wherein he sheds some light on the woman's personality and work method, dishing dirt in a respectful manner. Along the way we learn that Linda Lovelace was initially hired for the role. A bad attitude and drug problems led to her being replaced by the smoldering Anne Belle. Assonitis comes clear about the role that Andriane played in the writing of the Emmanuelle book and this script, as well as his personal fetishes, intellectualism, and complicated manner of being. The second featurette is called "Laure: A Love Story," and examines the on-and-off again lust affair between Al Cliver and Annie Belle throughout various movies and years. Fascinating stuff delivered with aplomb.

Review by William Simmons


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