The greatest movie ever made..!

Strong and Moving!

Excellent, a Must See

A Major Disappointment

In this (Reportedly a remake of a Greek film of the 60s) Joe D'Amato guilty pleasure, goes a beautiful mature agent woman Emanuelle (Rosemarie Lindt - exploiting only the famous name) making a plan against an evil, giant playboy (Habitual George Estman) for murder her sister Françoise of solitude. Is undeniably kinky and trashy, but the music, the photograpahy (Of D'Amato itself) and the composition makes more than worthwhile and it really works! Still, be sure this is not for every taste ... Is a D'Amato film, and one of his best.With Patrizia Gori and Mary Kristal, in color by Luciano Vittori. Still a hard to get DVD overseas. Also known as Emanuelle's Revenge.

Made before director D'Amato got together with Laura Gemser, and not really an Emanuelle film, this strange erotic revenge thriller is one of D'Amato's most coherent and visionary statements. The story is simple – young model Francoise is abused and betrayed by her cad of a lover Carlos, finally throwing herself under a train when the pain gets too much. Francoise' older sister Emanuelle finds out the whole sorry story through some letters left by her sister, and goes about getting even with the bounder. She seduces him, drugs him and keeps him chained and imprisoned behind a two way mirror positioned in her living room, through which he sees her putting on an erotic solo show, making lesbian love, indulging in orgies and, with the help of some hallucinogens, partaking with revellers in an imagined cannibal feast.The two way mirror is an extraordinary image, and is central to the meaning of the film. Carlos' treatment of Francoise is unthinking patriarchal abuse; Emanuelle – a feminist journalist – has previously called for a women's movement in which "women mustn't lose their womanhood" – uses all of the feminine tools at her disposal to get one over on him. There's something about Carlos' isolated immolation behind the mirrored screen which suggests the position of a lonely, frustrated man trapped in a world where he can watch women get up to all sorts of stuff, as in pornography, but he cannot get to join in and, what's more, he holds up his escape attempts by his compulsion to look. The terrible vision of the cannibal feast – an image which is central to D'Amato's work – shows us a world in which people eat flesh and blood to survive, the dog eat dog world of contemporary society. In his dark prison, disempowered Carlos dreams of murdering a naked Emanuelle with a cleaver, and when he does get free (narrowly missing the emasculation which many powerless men imagine the women's movement will bring them), he causes her death in reality. But hiding from the police back behind the mirror, Carlos finds himself fatally trapped – his planned escape through violence has been a road back to imprisonment, and he will starve and thirst to death in an ending straight out of Edgar Allen Poe.The story is reminiscent of one of Poe's horror tales crossed with a dollop of De Sade (Francoise and Emanuelle suggest Justine and Juliette); the tale conjures forth a horrific, relentless universe in which cycles of violence turn round forever, men on top and abusing women one minute, women on top and torturing men the next – yet no one ever gets free from the hate and anger which traps them. D'Amato is a consummate poet of the cinema, and he goes out of our way to show that his two way mirror stands for the cinema screen: people appear on its surface, it shows lurid and violent images of desire and death, at one point a police cameraman working in the room with it asks for time for "a few more shots." D'Amato does all he can to mirror Emanuelle's antics on her "screen" with Carlos' antics abusing Francoise off it – he forces her to have brutal sex whilst sleazy men watch, he gives her to a nasty old satyr of a producer, he emotionally blackmails her into starring in pornographic films. At times the relationship between Carlos and Francoise reminds one of the story of Linda Lovelace and her husband/manager Chuck Traynor as told in Linda's autobiography Ordeal; perhaps Emanuelle is reminiscent of one of the women who played the game for themselves and made successful careers for themselves as powerful players in the porn industry. By some alchemical magic, D'Amato has captured the spirit of the newly libidinous, permissive world and shown us the choices open to women in it. He doesn't, as a maker of sleazy product himself, remain free from contamination, but purity isn't the game for artists of his kind: they are immersed in a world from which they bring back reports of the truth, and show us their findings without editorializing, with the inscrutable look of sphinx on their face.

Prolific sleaze maestro, Joe D'Amato, directed this flick before the sexy Laura Gemser became the star of the series, and for that reason; we have Rosemarie Lindt, from cult flicks such as Salon Kitty and Who Saw Her Die, taking the lead role. This puts the film on the back foot from the beginning, as Lindt doesn't bring the same amount of sassiness to her role as Gemser does, and the film is a less memorable entry in the series for that reason. Actually; it would appear that Emanuelle's Revenge wasn't intended to be a part of the Emanuelle series, and only got the title due to it's director's affinity with it. The fact that it's alternate, and more fitting, title is 'Blood Vengeance' shows this clearly. Anyway, the plot is a little bit more involving than most porno flicks, as it plays out like a thriller. We follow a young woman called Emanuelle who gets her revenge on the man responsible for her sister's death by chaining him up in her basement and forcing him to watch her having sex.The Emanuelle character is nothing like the one played by Laura Gemser, as the young lady here has a sadistic streak a mile wide. The ending alone, without what precedes it, shows this clearly enough! Despite being more of a thriller than most Emanuelle films; Emanuelle's Revenge still finds more than enough time for sex scenes. The entire film feels very low rent, and the sex sequences do too; they're not terrible, but they're also not very erotic, and the fact that most of the film is filled with these scenes doesn't do it many favours. Emanuelle's Revenge is sure to please fans of seventies Italian films, however, as it's dripping with the typical sleaze style, and this is helped by the music and cinematography. The acting isn't especially brilliant and the film suffers from poor dubbing as always. Not having seen much of the Emanuelle series, I can't really say how good this is compared to the others; but in its own right, it's not too bad. The thriller structure is good, and the way that the film is consistently sleazy is sure to please also.

Laura Gemser sits out this time, but Rosemarie Lindt is here and ready, willing and able to disrobe at any given opportunity. She's Emanuelle, a successful fashion model with one problem...she has just been raped by a vile behemoth (big guy George Eastman). To get revenge, she seduces, drugs and then chains her attacker up in a secret room behind a one-way mirror where he must watch in sexual frustration as she taunts and teases him with a parade of men and women she brings home to play with.Not surprisingly for a D'Amato movie, this is not your standard sex film. Despite lots of flesh baring, it's far from being erotic. There's violence, gore, full frontal nudity, warped dream sequences, rape, hardcore dinner table masturbation scenes (in the uncut version anyway) and much more that you may not expect. Memorable bits include a sick-o nightmare sequence with Lindt being pinned down by four women and raped with a wine bottle and the finale, where someone in the cast ends up a gory mess after being chopped up with a meat cleaver.And no, none of this is as entertaining as it sounds. Low production values, bad dubbing, crummy plotting, bad acting and time padding make it a chore to sit through. On video this was available in both R or Unrated versions (Unrated is the one I saw).View at your own risk!