17 reviews
This is the first, and most likely the only Joe D'Amato film ever to hit Belgian television screens. Quite logical, since the titles on his repertoire go from nauseating horror films ("Anthropophagous", "Beyond the Darkness") to hardcore porno flicks ("Tarzan X") and sometimes even a combination of both ("Erotic Nights of the Living Dead", "Porno Holocaust"). D'Amato pretty much behaves himself here and follows the formula of the original "Black Emanuelle" film, released one year before, but that doesn't mean avid D'Amato-fans have to worry, as there still is an enormous amount of genuine sleaze to enjoy. "Emanuelle in Bangkok" has virtually no plot at all and you can't even fully believe the title, as our sexy protagonist's journey to the Far East is very brief and she only has contact with two Asian people (a masseuse and a bell-boy). The film most "crucial" sequences are set on a cruise ship and in Morocco, where she has an off/on relationship with a persistent archaeologist. I have no complaints, though, since the camera beautifully captures Laura Gemser's erotic adventures with men, women, couples and herself. Joe D'Amato's trademarks are bizarrely tinted sexual situations, and there's only one such sequence in this film, namely the Japanese stripper who puts ping-pong balls up her vagina. Weird
One aspect about "Emanuelle in Bangkok", as well as in the entire cycle, is downright brilliant and that's the music. Nico Fidenco's score is mesmerizing and, without exaggerating, at least ten times better than every other score that ever won an Oscar. The dazzling soundtrack alone makes "Emanuelle in Bangkok" a true cult classic that every fan of the genre will enjoy watching.
The first thing that struck me about EMANUELLE IN BANGKOK was Nico Fidenco's music score, a whistling, happy, bumbling little ditty that would be right at home on a YouTube video compilation of Tourette's Guy clips. Or maybe a toothpaste commercial, its stuck in my head now and fortunately for my sanity, its not bad. I'd whistle it for you if I could, and can't help but wonder if that's Alessandro Alessandroni doing his trademark thing there. He's the guy whistling on the old spaghetti western soundtracks, proof once again that while often derivative the Italians managed to create some new forms. The movies may often be cheap & boring, but they almost always have great musical scores.
I would paint this one into the same category. It looks pretty much like Joe D'amato took a sprawling vacation with some of his favorite stock players (Laura Gemser, her husband Gabrielle Tinti), a couple of Italian genre cinema leading males he maybe owed a favor to (Ivan Rassimov & my hero Giacomo Rossi-Stuart) and a few sexy Euro body babes with no problems with nudity, group groping and the occasional half naked lesbian make-out with Ms. Gemser (Ely Galleani, Debra Berger, Gaby Bourgois). He brought along a camera, maybe a mistress to hold the scripts while somebody made sure there was enough light, and went about their touristy ways while filming a scene or two here & there as they traveled about.
Two scenes sort of spoil the fun, first another barbaric episode of Italian filmmakers using animal violence to fill some screen time, then an inexplicable sequence where Ms. Gemser is sexually assaulted by a mob of greaseballs who make a point to humiliate her while getting their jollies off. Inexplicable because afterward she seems quite at ease with herself and chats pleasantly with her attackers as if they had just met at a diner. Then again its all just a silly phallocentric fantasy really, about guys with unlimited means traveling exotic lands in the company of attractive women in their 20s whom they have random sex with, often playing erotic group games for grown ups & swapping partners, though the version I saw was strictly a softcore engagement. The most arousing display being a scene where the girls all get up, strip down to their panties and dance like a harem for an Arabian prince.
Or something like that, to tell the truth I was hardly paying attention to the story and frankly couldn't care less. Like a spaghetti western you watch stuff like this for the individual moments rather than the cumulative effect, and most of it passed quite pleasantly with the occasional raised eyebrow. Like the scene were Emanuelle entertains a crowd in a private club by dripping hot candle wax all over her magnificent, nude body. For all we know and given the way Joe D'amato worked, the whole film might have been just an excuse to put that up on the screen. It may not pass as entertainment for some, but for those two minutes this movie was the only thing I was thinking about.
4/10
I would paint this one into the same category. It looks pretty much like Joe D'amato took a sprawling vacation with some of his favorite stock players (Laura Gemser, her husband Gabrielle Tinti), a couple of Italian genre cinema leading males he maybe owed a favor to (Ivan Rassimov & my hero Giacomo Rossi-Stuart) and a few sexy Euro body babes with no problems with nudity, group groping and the occasional half naked lesbian make-out with Ms. Gemser (Ely Galleani, Debra Berger, Gaby Bourgois). He brought along a camera, maybe a mistress to hold the scripts while somebody made sure there was enough light, and went about their touristy ways while filming a scene or two here & there as they traveled about.
Two scenes sort of spoil the fun, first another barbaric episode of Italian filmmakers using animal violence to fill some screen time, then an inexplicable sequence where Ms. Gemser is sexually assaulted by a mob of greaseballs who make a point to humiliate her while getting their jollies off. Inexplicable because afterward she seems quite at ease with herself and chats pleasantly with her attackers as if they had just met at a diner. Then again its all just a silly phallocentric fantasy really, about guys with unlimited means traveling exotic lands in the company of attractive women in their 20s whom they have random sex with, often playing erotic group games for grown ups & swapping partners, though the version I saw was strictly a softcore engagement. The most arousing display being a scene where the girls all get up, strip down to their panties and dance like a harem for an Arabian prince.
Or something like that, to tell the truth I was hardly paying attention to the story and frankly couldn't care less. Like a spaghetti western you watch stuff like this for the individual moments rather than the cumulative effect, and most of it passed quite pleasantly with the occasional raised eyebrow. Like the scene were Emanuelle entertains a crowd in a private club by dripping hot candle wax all over her magnificent, nude body. For all we know and given the way Joe D'amato worked, the whole film might have been just an excuse to put that up on the screen. It may not pass as entertainment for some, but for those two minutes this movie was the only thing I was thinking about.
4/10
- Steve_Nyland
- Mar 2, 2010
- Permalink
In the summer of 1995, Showtime aired this movie almost every night, after "Red Shoe Diaries" and usually around 1 AM. I thought then this was the strangest soft-core thing I've ever seen. Over the years, I've seen far more bizarre, but this one still remains memorable to me after all these years.
First off, the music. Bad '70s porno music meets Asian karaoke. Seriously. There are really only 2 songs here, and I don't know the names of them, so I'll give them names: "Like A Sailing Ship," which has a ship horn in its chorus ("TOOOOOOOOOOOOOOOOT!"), and "I Wander Safe At Night," which is played most prominently during the big group drug/orgasm scene, perhaps the standout scene in this film: a bunch of people smoke pot (or some mind-altering drug), then get horny and get freaky. All to the strains of a bad guitar solo. This should be a requirement for all soft-core porn.
Laura Gemser is pretty hot, she could easily still stand out even today. Come to think of it, all the women here are not bad-looking at all. If you can stand the fact that a lot of George W.'s last name is in full force here (personal grooming wasn't in in 1976, kids), you might like the ladies.
"Emanuelle in Bangkok," a standout film from my lonely teenager years. I don't even remember the plot, and I don't care. Seeing this now brings back memories of me with Cool Ranch Doritos and a bottle of Pepsi, keeping the volume low so my parents wouldn't hear it, settling back to Showtime's late-night lineup, which included this film and "Red Shoe Diaries." Those were the days...
First off, the music. Bad '70s porno music meets Asian karaoke. Seriously. There are really only 2 songs here, and I don't know the names of them, so I'll give them names: "Like A Sailing Ship," which has a ship horn in its chorus ("TOOOOOOOOOOOOOOOOT!"), and "I Wander Safe At Night," which is played most prominently during the big group drug/orgasm scene, perhaps the standout scene in this film: a bunch of people smoke pot (or some mind-altering drug), then get horny and get freaky. All to the strains of a bad guitar solo. This should be a requirement for all soft-core porn.
Laura Gemser is pretty hot, she could easily still stand out even today. Come to think of it, all the women here are not bad-looking at all. If you can stand the fact that a lot of George W.'s last name is in full force here (personal grooming wasn't in in 1976, kids), you might like the ladies.
"Emanuelle in Bangkok," a standout film from my lonely teenager years. I don't even remember the plot, and I don't care. Seeing this now brings back memories of me with Cool Ranch Doritos and a bottle of Pepsi, keeping the volume low so my parents wouldn't hear it, settling back to Showtime's late-night lineup, which included this film and "Red Shoe Diaries." Those were the days...
This is the first "Black Emanuelle" film directed by Joe D'Amato and it actually resembles the first "Black Emanuelle" more than any of the more notorious and depraved films in series which D'Amato later directed. The movie doesn't have much of a plot, and more of it takes place in Casablanca than in Bangkok or the Orient, so both the English and Italian titles are pretty inaccurate. For the record, Emanuelle has sex with an archaeologist (played by Gemser's real-life husband Gabrielle Tinti), a female Thai masseuse, a male Thai bellboy, some swinging American Republicans (Ivan Rassimov and the lovely Ely Galeani), the entire (strangely all-European) contingent of the Thai king's bodyguards, a Thai customs official (after her passport is stolen), the Republican wife again in an airplane bathroom, the archaeologist and his new fiancée, the fiancée again along with a black dancer and an entire horde of horse-back-riding Arabs, and finally the lesbian daughter of the American consul in Casablanca (Debra Berger).
Most of these sex scenes are all pretty truncated, which may frustrate the hairy-palmed viewers out there, but the movies probably would have been six hours long otherwise. There's also a lack of the depravity we've come to expect from D'Amato aside from an obviously unstaged snake/mongoose fight and the scene where Emanuelle is "gang-raped" by the king's bodyguards, which she either enjoys or doesn't mind too much since she later takes her lover's fiancée off to dance naked in an Arab tent and get gang-banged again. These scenes though are really no different than the African village scene or the (literal)train scene in the first "Black Emanuelle", and they take place mostly off-screen anyway.
Still the girls are very pretty, the cinematography and natural scenery are appealing, the music ranges from execrable to enjoyably cheesy. And this is now paired with two (slightly) better "Black Emanuelle" movies in the new "Black Emanuelle's Box" DVD set, so check it out for yourself.
Most of these sex scenes are all pretty truncated, which may frustrate the hairy-palmed viewers out there, but the movies probably would have been six hours long otherwise. There's also a lack of the depravity we've come to expect from D'Amato aside from an obviously unstaged snake/mongoose fight and the scene where Emanuelle is "gang-raped" by the king's bodyguards, which she either enjoys or doesn't mind too much since she later takes her lover's fiancée off to dance naked in an Arab tent and get gang-banged again. These scenes though are really no different than the African village scene or the (literal)train scene in the first "Black Emanuelle", and they take place mostly off-screen anyway.
Still the girls are very pretty, the cinematography and natural scenery are appealing, the music ranges from execrable to enjoyably cheesy. And this is now paired with two (slightly) better "Black Emanuelle" movies in the new "Black Emanuelle's Box" DVD set, so check it out for yourself.
Notorious film director D' Amato's first entry in the "Black Emanuelle" series is somewhat better than its predecessor but, the version I watched on Italian TV is so sloppily trimmed that several sexy scenes end abruptly, thus making them quite senseless! Here Emanuelle attracts the attentions of a Thai Prince (Ivan Rassimov, of all people), her on-off archaeologist boyfriend (real-life husband Gabriele Tinti), a world-renowned historian and a shy Thai bell-boy, as well as 4(!) females - an Oriental masseuse, a repressed American tourist (played by the lovely Ely Galleani from A LIZARD IN A WOMAN'S SKIN [1971] and BABA YAGA [1973]), Tinti's "official" schoolmarmy girlfriend and, most intriguingly, an American Consul's (possibly manic-depressive) daughter!
I say intriguingly because Emanuelle is shown really losing her head for the young, inexperienced girl (almost up to the point that she starts considering forsaking her hedonistic lifestyle) but, before you can say, "Copout!", she gets a call from her newspaper sending her off to Paris for another assignment!! By the way, towards the middle of the film, Emanuelle's Bangkok apartment gets broken into and she loses her passport and all her valuable rolls of film (apparently because she was getting too close to Prince Rassimov who has a coup d'etat on his mind) and, for good measure, there's some local color (opium smoking and sensuous dancing) and even animal cruelty (in the form of a bloody mongoose vs. cobra duel). What the f***!
I say intriguingly because Emanuelle is shown really losing her head for the young, inexperienced girl (almost up to the point that she starts considering forsaking her hedonistic lifestyle) but, before you can say, "Copout!", she gets a call from her newspaper sending her off to Paris for another assignment!! By the way, towards the middle of the film, Emanuelle's Bangkok apartment gets broken into and she loses her passport and all her valuable rolls of film (apparently because she was getting too close to Prince Rassimov who has a coup d'etat on his mind) and, for good measure, there's some local color (opium smoking and sensuous dancing) and even animal cruelty (in the form of a bloody mongoose vs. cobra duel). What the f***!
- Bunuel1976
- Sep 7, 2006
- Permalink
To say that this movie is disappointing would be the understatement of the year. It is truly one of the most unenjoyable movies I have ever seen, and I'm a big Laura Gemser fan. I wasn't expecting Citizen Kane or Apocalypse Now...
1. This movie lacks coherence, which I blame on the producers and the editors. It jumps all around and doesn't make much sense. For example, Emmanuelle is having sex with the prince after having smoked some opium (God, I wish it was that easy...) and then they cut to her going to take pictures of some mongoose cobra fight, which has no purpose other than gratuitous violence as the mongoose rips the eyes out of the cobra with his teeth. After this, she is back in her room, taking off her top with no continuity, no explanation. It's like they had this footage of the animal fight and they had to stick it in somewhere. It just doesn't add anything to the movie. It comes out of nowhere and goes nowhere.
2. The MUSIC IS HORRIBLE! It isn't just bad, annoying, and totally incongruous, it's totally WRONG beyond wrong. It's the kind of music they would play in the 60's or 70's while a mime and a clown interact on the streets of Paris. The only problem is this movie isn't set in Europe, it's set in exotic Asia featuring exotic looking Laura Gemser. The music is unforgivable.
3. THE MOVIE IS NOT EROTIC!! When I watch an Emmanuelle film, I want to see gorgeous Laura naked and having sex long enough so that my eyes can focus on the action. The sex scenes here are a jumbled mess with too many cut aways from the good stuff. There's no flow and these scenes are very short. By the time I see Laura's beautiful naked breasts, they've already cut away to some guy's face or a trip to take some pictures. The strip sequence in the Bedouin tent is a perfect example.
I think the thing that angers me the most about this film is the lost potential. They had a great asset in Laura Gemser and totally frittered it away. I've been watching all of Laura's films chronologically, and this has been the worst so far.
1. This movie lacks coherence, which I blame on the producers and the editors. It jumps all around and doesn't make much sense. For example, Emmanuelle is having sex with the prince after having smoked some opium (God, I wish it was that easy...) and then they cut to her going to take pictures of some mongoose cobra fight, which has no purpose other than gratuitous violence as the mongoose rips the eyes out of the cobra with his teeth. After this, she is back in her room, taking off her top with no continuity, no explanation. It's like they had this footage of the animal fight and they had to stick it in somewhere. It just doesn't add anything to the movie. It comes out of nowhere and goes nowhere.
2. The MUSIC IS HORRIBLE! It isn't just bad, annoying, and totally incongruous, it's totally WRONG beyond wrong. It's the kind of music they would play in the 60's or 70's while a mime and a clown interact on the streets of Paris. The only problem is this movie isn't set in Europe, it's set in exotic Asia featuring exotic looking Laura Gemser. The music is unforgivable.
3. THE MOVIE IS NOT EROTIC!! When I watch an Emmanuelle film, I want to see gorgeous Laura naked and having sex long enough so that my eyes can focus on the action. The sex scenes here are a jumbled mess with too many cut aways from the good stuff. There's no flow and these scenes are very short. By the time I see Laura's beautiful naked breasts, they've already cut away to some guy's face or a trip to take some pictures. The strip sequence in the Bedouin tent is a perfect example.
I think the thing that angers me the most about this film is the lost potential. They had a great asset in Laura Gemser and totally frittered it away. I've been watching all of Laura's films chronologically, and this has been the worst so far.
Emanuelle Nera: Orient Reportage (1976), directed by Joe D'Amato, continues the saga of the enigmatic photojournalist Emanuelle, played by Laura Gemser. This installment takes Emanuelle on a journey through the Far East, promising a blend of adventure, eroticism, and cultural exploration. While the film's exotic locales and Gemser's captivating presence add some allure, the overall execution falls flat. The narrative struggles to maintain coherence, often veering off into tangents that detract from the central story.
Laura Gemser remains the standout element of the film, embodying Emanuelle with her signature blend of sensuality and intelligence. However, the supporting cast fails to match her charisma, delivering performances that range from mediocre to outright wooden. This disparity in acting quality undermines the film's potential to create compelling interpersonal dynamics, leaving the interactions feeling hollow and unconvincing.
Visually, Emanuelle Nera: Orient Reportage benefits from its stunning cinematography, capturing the vibrant and diverse landscapes of the Far East with an eye for beauty. The film's depiction of cultural settings adds a layer of visual interest, providing a rich backdrop that could have elevated the story. Unfortunately, the inconsistent editing and erratic pacing disrupt the visual storytelling, making it difficult for viewers to stay engaged with the plot. Scenes that should build tension or develop characters often feel rushed or poorly connected.
Ultimately, Emanuelle Nera: Orient Reportage is a film that promises much but delivers little. The exotic settings and Laura Gemser's performance offer glimpses of what could have been a captivating erotic adventure. However, the weak script, uneven acting, and disjointed narrative prevent the film from achieving its potential. For fans of the Emanuelle series or those with a particular interest in 1970s erotic cinema, it might hold some nostalgic value.
Laura Gemser remains the standout element of the film, embodying Emanuelle with her signature blend of sensuality and intelligence. However, the supporting cast fails to match her charisma, delivering performances that range from mediocre to outright wooden. This disparity in acting quality undermines the film's potential to create compelling interpersonal dynamics, leaving the interactions feeling hollow and unconvincing.
Visually, Emanuelle Nera: Orient Reportage benefits from its stunning cinematography, capturing the vibrant and diverse landscapes of the Far East with an eye for beauty. The film's depiction of cultural settings adds a layer of visual interest, providing a rich backdrop that could have elevated the story. Unfortunately, the inconsistent editing and erratic pacing disrupt the visual storytelling, making it difficult for viewers to stay engaged with the plot. Scenes that should build tension or develop characters often feel rushed or poorly connected.
Ultimately, Emanuelle Nera: Orient Reportage is a film that promises much but delivers little. The exotic settings and Laura Gemser's performance offer glimpses of what could have been a captivating erotic adventure. However, the weak script, uneven acting, and disjointed narrative prevent the film from achieving its potential. For fans of the Emanuelle series or those with a particular interest in 1970s erotic cinema, it might hold some nostalgic value.
- MajesticMane
- Jun 3, 2024
- Permalink
The exotic locale gave this a bit more to work with.
The obvious titillation scenes seemed to be the main point here. (Loved the massage scene.) Then big Joe just found ways to connect them. That's what he did best.
Gabriel Tinti, (Goddess Gemser's real life, and late, husband) makes an appearance as her paramour here. As he did in many of these films. He was a decent actor actually. I like seeing him as the straight man in her life.
I liked seeing Ivan Rassimov as the prince. He really played a great authority type. It's strange that he and Gemser didn't star in more films together seeing as they did a lot of similar work.
Call this a soft x film pretending to be a documentary.
The obvious titillation scenes seemed to be the main point here. (Loved the massage scene.) Then big Joe just found ways to connect them. That's what he did best.
Gabriel Tinti, (Goddess Gemser's real life, and late, husband) makes an appearance as her paramour here. As he did in many of these films. He was a decent actor actually. I like seeing him as the straight man in her life.
I liked seeing Ivan Rassimov as the prince. He really played a great authority type. It's strange that he and Gemser didn't star in more films together seeing as they did a lot of similar work.
Call this a soft x film pretending to be a documentary.
- haildevilman
- Jun 27, 2006
- Permalink
I cannot understand the reviews here on IMDb for this film but I imagine its from those Joe D'Amato fans who just want hardcore sex and gore - the stuff he basically did for paychecks in between the movies he put his heart into, like this one which is absolutely lovely, fun, thought-provoking and sexy. Laura Gemser stars in her second foray as "Black Emanuelle", this time heading off to Bangkok for more sexual and social exploration, hopping from one adventure to another, and one person to another, but remaining rather tame in the pornographic sense. If that's your game, just go rent a porn. But if you are looking for a soft-core adventure with plenty of carefree mentality, this is it. Joe D'Amato pleases the eyes with stunning cinematography and lush tropical locales. But surpassing even all these merits is the mesmerizingly beautiful score from Nico Fidenco - it is absolutely breathtaking and makes all the images on screen melt together with the music for a rare cinematic experience. Well done!
- josephbrando
- Mar 19, 2015
- Permalink
- JohnnyOldSoul
- Jul 4, 2002
- Permalink
This is a suprisingly good film. The photography is good, it seems to have some decent production values, the score is excellent, and the editing is slick. It outclasses many of D'Amato's hardcore films and the erotic scenes are more hot than anything you can see late night on cinemax. An overlooked D'Amato/Gemser classic I say.
- Woodyanders
- Jun 7, 2012
- Permalink
- BandSAboutMovies
- Dec 18, 2021
- Permalink
Emanuelle in Bangkok is the second entry in the Black Emanuelle series begun by Bitto Albertini then continued on into infamy by Joe D'Amato.
Laura Gemser returns as the intrepid globetrotting reporter Emanuelle who is sent on a mission to Bangkok to interview the King's nephew. She is accompanied to Bangkok by her on-again-off-again lover Roberto (Gemsers real-life husband Gabriele Tinti) who is on his way to begin an archaeology dig in Morocco.
Emanuelle never quite gets her interview as she has her passport & photography equipment stolen then is brutally gang-raped by a group of thugs employed by the government, so she decides to join Roberto in Morocco. Not having a passport isn't a problem, she just f@cks an airport official for a free pass.
Once in Morocco Emanuelle discovers Roberto is now engaged to an English woman, so they all decide to engage in some group sex, which seems to straighten everything out. Soon Emanuelle falls madly in love with the daughter of an American ambassador and spends the rest of her days either involved in some in lesbian bubble bath action or f@cking Roberto and/or any other man who crosses her path.
Being still early in the series, there is less of the sleaze and nastiness that some of the other films are so well known for, basically it's a sexy travelogue piece. Emanuelle is inhibition-free and generous with her body so pretty much every dude she meets gets to have a go.
A couple of notable scenes include: a sequence of 'natural' animal violence where a Shrew-like creature fights a cobra, and wins. The fully-clothed gang-rape where afterwards Emanuelle hangs out and chats cheerfully with her assailants, and a Bangkok stripper performing the notorious ping-pong ball trick.
Ultimately this isn't D'Amato's best Emanuelle film but if you're looking for some mindless (and often dull) softcore fare then check this out, otherwise I'd suggest going for either Emanuelle in America, Emanuelle and the Last Cannibals or Emanuelle Around the World (XXX version).
Laura Gemser returns as the intrepid globetrotting reporter Emanuelle who is sent on a mission to Bangkok to interview the King's nephew. She is accompanied to Bangkok by her on-again-off-again lover Roberto (Gemsers real-life husband Gabriele Tinti) who is on his way to begin an archaeology dig in Morocco.
Emanuelle never quite gets her interview as she has her passport & photography equipment stolen then is brutally gang-raped by a group of thugs employed by the government, so she decides to join Roberto in Morocco. Not having a passport isn't a problem, she just f@cks an airport official for a free pass.
Once in Morocco Emanuelle discovers Roberto is now engaged to an English woman, so they all decide to engage in some group sex, which seems to straighten everything out. Soon Emanuelle falls madly in love with the daughter of an American ambassador and spends the rest of her days either involved in some in lesbian bubble bath action or f@cking Roberto and/or any other man who crosses her path.
Being still early in the series, there is less of the sleaze and nastiness that some of the other films are so well known for, basically it's a sexy travelogue piece. Emanuelle is inhibition-free and generous with her body so pretty much every dude she meets gets to have a go.
A couple of notable scenes include: a sequence of 'natural' animal violence where a Shrew-like creature fights a cobra, and wins. The fully-clothed gang-rape where afterwards Emanuelle hangs out and chats cheerfully with her assailants, and a Bangkok stripper performing the notorious ping-pong ball trick.
Ultimately this isn't D'Amato's best Emanuelle film but if you're looking for some mindless (and often dull) softcore fare then check this out, otherwise I'd suggest going for either Emanuelle in America, Emanuelle and the Last Cannibals or Emanuelle Around the World (XXX version).
The title says it all!! There is no story, just lovemaking scenes at regular frequency as the scene shifts from the Orient to the Gulf with a cruise thrown in between. The only saving grace for the film are the Husband & Wife couple of Gabriele Tinti & Laura Gemser.
Emanuelle in Bangkok (1976)
* 1/2 (out of 4)
Joe D'Amato's first stab in the "Black Emanuelle" series with Laura Gemser in her second stint as the character. In this film, Emanuelle travels to Bangkok to get an interview with their King but she spends most of her time screwing any man or woman she can get her hands on. This film doesn't contain the sleaze factor that future D'Amato/Gemser films have but there's still some fairly naughty stuff here including one woman who sticks a golf ball up her vagina and then blows it out. Animal lovers will also want to stay away as there's a disgusting scene with a snake and muskrat fighting it out to the (real) death. As for the rest of the film, it's amazing that D'Amato would make so many softcore and hardcore adult films (this one is soft) and yet never manage to capture anything remotely erotic ala other directors in the field like Franco and Rollin. Gemser is a hot piece of ass but D'Amato does nothing with that beauty and the non-erotic moments is what really kills this thing. The so called story is boring enough and while there's plenty of sex and nudity, this too gets boring after a while. This film was followed by Emanuelle in America, which also features Pedro the horse. Now that film and star get an ultimate yuck.
* 1/2 (out of 4)
Joe D'Amato's first stab in the "Black Emanuelle" series with Laura Gemser in her second stint as the character. In this film, Emanuelle travels to Bangkok to get an interview with their King but she spends most of her time screwing any man or woman she can get her hands on. This film doesn't contain the sleaze factor that future D'Amato/Gemser films have but there's still some fairly naughty stuff here including one woman who sticks a golf ball up her vagina and then blows it out. Animal lovers will also want to stay away as there's a disgusting scene with a snake and muskrat fighting it out to the (real) death. As for the rest of the film, it's amazing that D'Amato would make so many softcore and hardcore adult films (this one is soft) and yet never manage to capture anything remotely erotic ala other directors in the field like Franco and Rollin. Gemser is a hot piece of ass but D'Amato does nothing with that beauty and the non-erotic moments is what really kills this thing. The so called story is boring enough and while there's plenty of sex and nudity, this too gets boring after a while. This film was followed by Emanuelle in America, which also features Pedro the horse. Now that film and star get an ultimate yuck.
- Michael_Elliott
- Feb 25, 2008
- Permalink