In a film with this kind of title, directed by Jess Franco, it's no surprise that not ten minutes have gone by before the two main characters are enjoying each other's company intimately. Emmanuelle and her husband Andreus have chosen a curiously unfrequented wax museum to indulge in some brief sex. Franco regular Antonio Mayans, billed here as Robert Foster plays hubby.
Of all the many females to have adorned Jess Franco's productions, Muriel Montossé is the one I find the most titillating. That's a purely personal view of course, but apart from her stunning looks and shape, she is also a very good actress, really capable of selling the allure of the two - surprisingly similar - main characters she has played for Franco. In fact, the similarities between this film (which contains no orgies, by the way - the title is typically provocative more than it is accurate) and the following year's 'Cecilia' are palpable. In both productions, the two actors play an equally fractious couple who find their rocky relationship fuelled by their peccadillos.
Here, we have rugged Tony Skios playing Marqués who the film is eager to show us from the opening voiceover onwards, is an absolute swine. His sharp-dressed swagger and smouldering looks paint him as a very laconic rotter, except other than proving to be less sexually impressive than he believes himself to be, he proves to be as much of a cypher as the other characters. The plot peters out into a flurry of thankfully non-invasive sex scenes, all accompanied by briskly plucked flamenco guitar music. No need to worry about missing any vital parts of the storyline because there aren't any - but then, any aficionado of Franco would be familiar with this approach. By the end, it is unclear whether the viewer has lost interest in the film, or Franco himself; it does seem very slapdash in its final act.
Muriel Montossé has escaped the fate of some of Jess's performers and enjoyed a prolific career, and she certainly gives Emmanuelle more overt sexuality and character than we might otherwise have got, but despite the lip-smacking locations, there's not a huge amount to get excited about here. My score is 5 out of 10.
Of all the many females to have adorned Jess Franco's productions, Muriel Montossé is the one I find the most titillating. That's a purely personal view of course, but apart from her stunning looks and shape, she is also a very good actress, really capable of selling the allure of the two - surprisingly similar - main characters she has played for Franco. In fact, the similarities between this film (which contains no orgies, by the way - the title is typically provocative more than it is accurate) and the following year's 'Cecilia' are palpable. In both productions, the two actors play an equally fractious couple who find their rocky relationship fuelled by their peccadillos.
Here, we have rugged Tony Skios playing Marqués who the film is eager to show us from the opening voiceover onwards, is an absolute swine. His sharp-dressed swagger and smouldering looks paint him as a very laconic rotter, except other than proving to be less sexually impressive than he believes himself to be, he proves to be as much of a cypher as the other characters. The plot peters out into a flurry of thankfully non-invasive sex scenes, all accompanied by briskly plucked flamenco guitar music. No need to worry about missing any vital parts of the storyline because there aren't any - but then, any aficionado of Franco would be familiar with this approach. By the end, it is unclear whether the viewer has lost interest in the film, or Franco himself; it does seem very slapdash in its final act.
Muriel Montossé has escaped the fate of some of Jess's performers and enjoyed a prolific career, and she certainly gives Emmanuelle more overt sexuality and character than we might otherwise have got, but despite the lip-smacking locations, there's not a huge amount to get excited about here. My score is 5 out of 10.