Emanuelle in Bangkok (1977)

In truth, there is barely enough story here to make a film.

I have absolutely never seen anything like this movie before. You have to see this movie.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

The first Black Emanuelle collaboration between Laura Gemser and her Svengali Joe D'Amato is merely a taste of the shocking things to come in the likes of Emanuelle in America and Emanuelle and the Last Cannibals. Emanuelle in Bangkok is a kind of dry run, with Gemser repeating her Black Emanuelle character from the first, non-D'amato film and D'amato finding his feet with this new character and genre he's lucked onto.Yet there are signs of things to come. The bulk of the film is sexual travelogue, with Emanuelle exploring Bangkok and then Casablanca, sightseeing and shagging – but some of the sights she sees are not quite what they recommend in the Visitor's Guide to Bangkok (a cockfight, a snake loosing a bloody battle with a mongoose, a dancer who has a speciality act with ping-pong balls , guess where) and the sex becomes dangerous, as Emanuelle is gang raped by a battalion of the king's bodyguards. This last scene is the film's most contentious, as Emanuelle lies back, thinks of previous exhortations to use her body for her own pleasure and ends up on friendly terms with her assailants. The scene could be seen as the first real throwing down of the gauntlet by D'amato in an Emanuelle film, with the heroine taken into places she and we never imagined by her post-60s free love philosophising, and also there's the curious effect of Gemser's performance, or rather lack of one. She walks through the entire film as if sleepwalking, greeting all things good or bad with the same blank affectless nonchalance, a kind of erotic robot either without emotions or with them so deeply suppressed as to suggest some past trauma. There's something about D'Amato's vision of Emanuelle which is both a lure and a fright, as we're compelled by her freedom as much as appalled by her lack of passionate engagement with, well, anything (including sex, where she invariably just goes through the motions).My suspicion is that D'Amato had very conflicted feelings about the sexual freedoms which arose in the post-60s consumer West, a fear and fascination that sex can lead not to ecstasy and freedom by dehumanisation and death. It is no mistake that he cuts from Prince Sanit's sexual philosophising about giving yourself over to pleasure to the death of the snake at the claws and teeth of the mongoose, the "petit mort" alluded to by the cutting.Emanuelle in Bangkok also works as a kind of satirical critique of consumer tourism, with exotic backdrops being used as a sex-filled break (as so many Westerners have used the real Bangkok); yet the real world of politics and human jealousy keeps interrupting, exposing Emanuelle's travels as the banal escapism they really are. The plot, like homeless and rootless modern man, lurches from one country to the next, one meaningless encounter to another, one short-lived and doomed relationship to its successor and it is in this much criticised plotlessness that the film makes its point. D'amato frames the story with two episodes from the relationship between Emanuelle and her erstwhile lover Roberto (played by Gemser's real-life husband Gabriele Tinti), the first setting out the plan to enjoy each other for the time being but not get bogged down in ideas of fidelity and love, the last showing their dream ruined by his foul-mouthed jealous homophobia about her love for a young female artist; the idea seems to be that Emanuelle cannot escape from the old ways of possessiveness, male chauvinism and all that messy stuff, but she'll wander on regardless. What we are meant to make of all this D'Amato, like a true democrat, leaves entirely up to us

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.

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.

"Um...ok." is what I heard myself say quite often during this picture. This sequel to Emanuelle nera (1974) is basically just a travelogue as Laura Gemser goes to and fro from place to place and in the process destroys two marriages and smokes opium with Ivan Rassimov. Yep, that's all there is to it.Gabriele Tinti actually comes off best, and the sex scenes between he and Laura Gemser are quite nice. I was confused by Emanuelle's "struggle" with her lesbian feelings for Debra Berger's character. I remember seeing her have sex with two women in the last film.Ely Galleani is her usual smiling self (I've never seen her not smile in a film) and Ivan Rassimov has those sexy eyes, and of course Laura Gemser is gorgeous as ever, but this film is just kinda a time-passer. Now, the series would reach it's pinnacle soon with "Emanuelle Around the World," but that's another story...EDIT (June 2007): On reflection, having seen this film again after several years, I have to admit that I have a new appreciation for how the romance between Emanuelle and Debra was handled. It's really quite sweet. Emanuelle's struggle isn't with feeling attracted to a woman, but feeling stronger emotions, thus she flees India, back to her old ways. If you watch their scenes in Italian with the English subs on (on the Severin DVD release,) the dialogue between Emanuelle and Debra is a bit different, and more moving. It makes the bathtub scene much more significant, rather than just a random moment of titillation as it appears in the English dub.