Judge Mitchell Hattaway found this movie about as erotic as an afternoon of C-SPAN.
A rose smells sweetest when it's fresh.
I never thought I would almost fall asleep during one of these movies. Well, I guess there's a first time for everything.
Facts of the Case
Emanuelle's husband is an abusive thug. Emanuelle hires a hitman to rub out her husband. Emanuelle and her lover plot to take control of her late husband's citrus empire. The hitman shows up and demands more money. Other than that, not a whole lot happens.
Emanuelle's Daughter: Queen of Sados has one fatal flaw: it isn't fun. Sure, the acting is laughably awful and the dialogue is unintentionally hilarious. The disco/funk score is patently lame. And you get a villain who wears gaudy jewelry, crotch-hugging bellbottoms, and shirts with collars wider than the wingspan of a 747, which is always good for a couple of chuckles. But that's not enough to render the movie passable. See, normally these Emanuelle flicks are little more than goofy showcases for rampant nudity and sex, but that isn't the case here. This one wastes far too much time on the boring stuff. The characters here actually spend more time walking around and conversing than they do getting it on. There are numerous scenes of Emanuelle (Laura Gemser, Divine Emanuelle: Love Cult) and Livia (Livia Russo), her stepdaughter, going about their daily lives. Who the hell wants to see Emanuelle watching oranges move down a conveyer belt in one of her late husband's factories? Who the hell wants to see Emanuelle visit a Chrysler dealership? Who the hell wants to hear Livia bitch about the fact that her stepmother won't allow her to go out on a date with some moped-riding doofus? Who the hell wants to see five minutes of Livia dancing atop a table in the world's smallest discotheque? (Okay, so this one isn't so bad, but only because the video for The Village People's "YMCA" is playing on a TV while Livia dances. That in itself isn't amusing, of course. What's amusing, albeit only mildly, is the fact that someone let the rights to the song lapse, so the music has been changed; now shots from the video play while some generic piece of disco crap plays over them.) I'll go elsewhere if I want to see scenes chronicling the minutiae of daily life. I don't expect to see them, nor do I want to see them, in this type of movie.
You do get some nudity and sex, but the naughty bits are few and far between. They're also quite nonsensical. There is one character who cannot enter her kitchen without first removing her clothes. She has a hankering for some fried eggs, so she strips down to her underwear before firing up the stove. She wants to make some coffee, so she strips down to her underwear before putting on the kettle. (Her culinary excursions are always interrupted by a horny suitor, which means her eggs burn and the coffee boils over.) Even more ridiculous is a scene in which the bad guy tries to get information out a woman by repeatedly shoving her head into her toilet. This somehow leads to a scene of lovemaking during which the woman's hair and face drip toilet water. I cannot speak for anyone else, but I have yet to meet a woman who considers getting a swirlie an acceptable form of foreplay.
Even worse than the lack of quality prurience is the cruel streak of misogyny in the flick; there are two rape scenes in this movie, both of which are entirely unnecessary. The first involves Emanuelle being held down by another woman, beaten by her husband, and sexually assaulted by her husband's business associate. I understand the need to establish why Emanuelle wants her husband dead, but do we really need to see this acted out? No, nor do we need to see the same scene twice more before the end of the movie. As bad as this scene is, it's almost tasteful compared to the scene late in the film in which Livia is raped by Mario (Harris Stevens, Black Aphrodite), the hitman Emanuelle hired to kill her husband. This scene is long, sadistic, and completely gratuitous. (Livia Russo looks like she was about fourteen when the movie was shot, which lends an air of extreme unseemliness to her frequent nude scenes.) Odd thing is, up until this point Mario's escapades have been the primary focus of the movie's sex scenes, during which he's portrayed as a superstud. Even if he is looking to blackmail more money out of Emanuelle (a notion that gets a scant three lines of dialogue in the entire flick), it's obvious we're supposed to like him, so his later actions are an act of audience betrayal on the part of the filmmakers. Yeah, it's an exploitation movie, and Mario does get it in the end (well, he actually gets it in the head), but it still rubbed me the wrong way. (I never thought I would get this serious about an Emanuelle movie. I must be getting old.)
The full frame transfer (in this case open-matte rather than pan-and-scan) features good color and detail; there is a bit of grain in several shots, as well as some evidence of dirt and scratches on the source elements, but it never becomes a distraction. The biggest flaw in the transfer, and it's a really big one, is the overabundance of jagged edges. This disc gave my player fits until I switched off progressive scanning. (Come on, guys, this shouldn't still be a problem. We're no longer living in the Dark Ages of the late '90s.) The dialogue in the mono soundtrack is always intelligible, which means the entertainingly atrocious dubbing work is given a nice showcase. The terrible music alternates between sounding hollow, tinny, and shrill. Extras include trailers for four other Exploitation Digital releases, as well as three theatrical trailers for this movie. You also get a photo gallery featuring production stills and international poster art. Lastly, there are four minutes of deleted and extended scenes, one of which helps flesh out the movie's almost nonexistent climax.
Emanuelle's Daughter: Queen of Sados is too dull, too inert, and too misogynistic. But at least there are no women with hairy armpits.
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Scales of Justice
Studio: Media Blasters
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