An admirably sleazy entry in Laura Gemser's filmography, this has the Black Emanuelle actress and her partner and perennial co-star Gabriele Tinti earning some quick bucks in the Greek exploitation film industry. Gemser plays a character called Emanuelle, who bears no relation to the Emanuelle she played in the original and the D'Amato series (perhaps the character wasn't called Emanuelle in the original Greek version but has been given that name in the dub). This Emanuelle is the abused trophy wife of a wealthy Greek orange magnate, a man who likes to humiliate and sexually torture his spouse with his business partners and in front of his nymphet of a daughter, Livia. Emanuelle plans and executes the murder of the magnate, a plot carried out by a seedy but sexy hit man called Mario Infanti. Emanuelle, now guardian of Livia and head of the orange distribution company, thinks she's got away with it. But Mario wants more money and the magnate's old cohorts suspect the truth.
The plot has an intriguing trajectory, as Emanuelle mends her fractious relationship with Livia and becomes romantically involved with another business contact of her late husband, Tommy Snow (Tinti). A new, happy family seems to be forming but the chance of happiness is cut short when Mario rapes Livia and Emanuelle revenges this by shooting him in an old amphitheatre, a setting which has the film's melodrama nodding to classical tragedy, Emanuelle (who'd have thought it?!) joining the ranks of Medea and Clytemnestra. It is as if any challenge to corrupt, abusive patriarchy means involvement with dangerous allies, the past association coming back to haunt the rebels even as they feel they are safe.
The story is interrupted at regular intervals by bouts of pretty steamy sex. Emanuelle makes love to Mario and then Tommy, Livia makes out with her young beau Mike and Mario makes out with various women. The sex scenes are as graphic as a softcore movie could get and have a horny, erotic feel to them. It is, however, somewhat problematic that the actress playing Livia looks barely older than 15 – she has a nude shower scene, a (tame) love scene with Mike, a very sexual disco dance and, most troubling, a brutal and prolonged rape scene where her naked body is abused and tossed around like a rag-doll. The BBFC certainly had problems with this casting and cut over 6 minutes out of the film at its last (2008) submission, "to remove scenes in which a naked or semi-naked child is portrayed in a sexual and exploitative manner, including a scene of sexual violence." This certainly gives the film an added edge of danger but the rape – coming out of nowhere in terms of dramatic build-up and Mario's character development – leaves a nasty taste in the mouth.
But perhaps a nasty taste is one of the affects that Eurosleaze cinema of this ilk is designed to provoke? If so, then Emanuelle Queen of Sados (aka Emanuelle Queen Bitch, aka Emanuelle's Sweet Revenge et al) is a pretty ripe slice of the Eurosleaze, a veritable factory of zesty, over-ripened oranges.
The plot has an intriguing trajectory, as Emanuelle mends her fractious relationship with Livia and becomes romantically involved with another business contact of her late husband, Tommy Snow (Tinti). A new, happy family seems to be forming but the chance of happiness is cut short when Mario rapes Livia and Emanuelle revenges this by shooting him in an old amphitheatre, a setting which has the film's melodrama nodding to classical tragedy, Emanuelle (who'd have thought it?!) joining the ranks of Medea and Clytemnestra. It is as if any challenge to corrupt, abusive patriarchy means involvement with dangerous allies, the past association coming back to haunt the rebels even as they feel they are safe.
The story is interrupted at regular intervals by bouts of pretty steamy sex. Emanuelle makes love to Mario and then Tommy, Livia makes out with her young beau Mike and Mario makes out with various women. The sex scenes are as graphic as a softcore movie could get and have a horny, erotic feel to them. It is, however, somewhat problematic that the actress playing Livia looks barely older than 15 – she has a nude shower scene, a (tame) love scene with Mike, a very sexual disco dance and, most troubling, a brutal and prolonged rape scene where her naked body is abused and tossed around like a rag-doll. The BBFC certainly had problems with this casting and cut over 6 minutes out of the film at its last (2008) submission, "to remove scenes in which a naked or semi-naked child is portrayed in a sexual and exploitative manner, including a scene of sexual violence." This certainly gives the film an added edge of danger but the rape – coming out of nowhere in terms of dramatic build-up and Mario's character development – leaves a nasty taste in the mouth.
But perhaps a nasty taste is one of the affects that Eurosleaze cinema of this ilk is designed to provoke? If so, then Emanuelle Queen of Sados (aka Emanuelle Queen Bitch, aka Emanuelle's Sweet Revenge et al) is a pretty ripe slice of the Eurosleaze, a veritable factory of zesty, over-ripened oranges.