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Written by Larry Clow
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Wednesday, 18 October 2006 |
New Film Production, 1977
starring: Laura Gemser, Gabriele Tinti, Lars Bloch and Roger Browne
directed by: Joe D’Amato
the plot: When photojournalist Emanuelle (Gemser) isn’t taking erotic photos of New York’s most beautiful women, she’s scouring the streets for stories of corruption and the bizarre proclivities of the rich and powerful. A friend tips her off to industrialist Eric van Darren (Bloch), a temperamental tycoon who’s collecting a harem of women based on the signs of the Zodiac. Emanuelle sneaks into the harem and uncovers van Darren’s true career as an international arms smuggler. In danger of being discovered, she escapes with the help of the Duke of Mount Elba (Tinti), an adventurous aristocrat who brings Emanuelle home to share with his wife. When the duke throws a decadent party, Emanuelle learns of a Carribean resort where rich women can procure some strapping young men. It’s not all sun and fun, though. There, Emanuelle is tipped off to an underground snuff film industry, financed by some of Washington, D.C.’s wealthy elite. Ingratiating herself with a corrupt senator (Browne), Emanuelle attempts to expose the snuff-film racket, but her investigations put her in more danger than she realizes.
why it’s good: “Emanuelle in America” is a pure sleaze-fest from start to finish, but it’s oddly compelling. That’s due in large part to Gemser, whose exotic beauty can make even the most deplorable acts watchable. And there are plenty of deplorable things to see in “Emanuelle,” including one scene involving a horse and... well, let’s leave it at that. When it comes to exploitation flicks, though, it’s hard to top “Emanuelle in America,” the fourth film in the infamous “Black Emanuelle” series that starred Gemser. Director Joe D’Amato treads the extremely fine line between eroticism and pornography, all the while providing some competent direction and giving the film a certain visual flair. The beginning of the film starts out like any other movie you might find on Cinemax at 2 a.m., but with each turn of the plot, D’Amato ups the ante, as if testing the viewer’s tolerance. It all culminates with the snuff-film footage that figures into the last 20 minutes of the movie. It’s so well made that it’s horrifyingly realistic, and those with a delicate constitution should avoid it. Is D’Amato trying to make some pointed commentary about voyeurism, the corruption of the rich and the universal power of sex? Maybe. Or maybe he’s just a big perv. Despite all that, “Emanuelle” is worth viewing, at least if you’re a fan of fringe films. But you’ll probably need a shower afterwards.
why you should own it: You probably shouldn’t own “Emanuelle in America,” but if you do, you’ll be amply rewarded by picking up Blue Underground’s DVD. The disc contains the entire, un-cut version of the film, with all the weirdness intact. The disc also features an exclusive interview with D’Amato, an audio interview with Gemser, and a history of the “Emanuelle” films.
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