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Emanuelle and the White Slave Trade
Emanuelle et les Filles de Madame Claude / Sklavenmarkt der Weissen Mädchen / Emanuelle and the Girls of Madame Claude / Black Emanuelle in Afrika

Italy 1978
produced by
Flora Film, Fulvia Film, Gico Cinematografica
directed by Joe D'Amato (= Aristide Massaccesi)
starring Laura Gemser, Ely Galleani, Gabriele Tinti, Venantino Venantini, Pierre Marfurt, Gota Gobert, Bryan Rostron, Manuela Romano, Nicola D'Eramo, Anna Toffoli, Tom Felleghy, Maria Letizia Serafino, Aurelia Saba, Fabio Frezza, Elena Maruffi, Maria Grado, Rocco Lerro, Alessadro Valente
story by Aristide Massaccesi (= Joe D'Amato), screenplay by Aristide Massaccesi (= Joe D'Amato), Romano Scandariato, music by Nico Fidenco

Black Emanuelle

review by
Mike Haberfelner

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While in Kenya to interview an infamous gangster gone legit (Venantino Venantini), photo journalist Emanuelle (Laura Gemser) witnesses a girl in a wheelchair changing hands on an airport in exchange for a suitcase (full of money, presumably). Later, she sees the girl being walked through a bazar by a mysterious man (Gabriele Tinti). To get information on that man, Emanuelle helps the gangster strike a deal with an Arabian prince (Pierre Marfurt) by becoming the prince's sextoy during his stay in Kenya.

Later, in New York, Emanuelle manages to track down her mysterious stranger and learns he acts as agent for a brothel somewhere out West, and to get the scoop, she lets him hire her and becomes a prostitute at Madame Claude's (Gota Gobert) high class whorehouse, where she impresses everybody with her sexual skill and appetite, and even the resident transvestite (Nicola D'Eramo) falls for her charms. During her stay at the brothel, Emanuelle finds out though that the place is only the front of a white slave ring, as girls from here are lobotomized and sent to the near and far East on order. Of course, Emanuelle is found out, captured, gangraped, and readied for lobotomy ... but she manages to seduce her nurse and make it out of the place.

And to escape her pursuers, she hides on a trawler bound for Los Angeles, anmd pays her fare by granting the crew a gangbang.

Now the main attraction of the Black Emanuelle-films as such is of course having Laura Gemser getting naked - a lot. So in a way, whether or not you like the series depends on whether or not you like to see Laura Gemser naked. Having said that, there are still differences between the individual entries into the series, as about half of the films are just incoherent collections of erotic episodes, while the other half actually have plots. Emanuelle and the White Slave Trade belongs to that latter half, and while the film's plot might not exactly be intellectually challenging, it does give Emanuelle's sexual shenanigans an extra dimension and makes her a sexually liberated emancipated woman instead of just a chick that loves to fuck a lot.

That's not to say Emanuelle and the White Slave Trade is a message movie of any sort, it's exactly as sleazy (on the softcore side) as you expect it to be, and Laura Gemser gets naked as often as the plot allows.

What I essentially want to say is that Emanuelle and the White Slave Trade is a surprisingly entertaining erotic thriller and one of the best films in the series - and it might even appeal to people who are not that much into Laura Gemser (if there are any).

review © by Mike Haberfelner

 

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