Her bit-part as a masseuse, in the lurid sequel to the original 'Emmannuelle', evidently gave someone the bright idea of putting a spanner in the works of the French soft-core series' gambit by inverting the Caucasian carnality and casting Javan stunner Gemser in a leading role in this, the rather tame first of a series of sexploiters that became increasingly depraved as sleazier directors took on in-name-only sequels.<br /><br />Someone (and surely not the English-language over-haulers Warner?) was also anticipating an 'A Star Is Born' type meteoric rise out the results, judging by the way the actress is credited merely with the eponymous moniker of the on-screen heroine, albeit with a couple of consonants sacrificed as insurance against litigation.<br /><br />Gemser's tenure in the series saw her as an 'intrepid' photographer, allowing of course for all manner of subsequent globe-trotting adventures. But, whilst she may well have been one the very most beautiful actresses on the screen at that time, any thespian talent that may have been there to discern becomes mired in the same sort of unfeasibly facile cogitation ("I have to confess that since I've been in Africa, I find white skin less appealing...") that was to be found in the French films.<br /><br />And in this particular entry, much to the consternation of the raincoat brigade the essence of on-screen carnality is as much to be found in puerile symbolism (pumping engine pistons!) as it is in prosaic couplings - although naturally these include generous dollops of 'exploratory' lesbianism. Connoiseurs of kitsch are however guaranteed a continuous stream of aural delights, what with such epithets of ethnographic wisdom as "I do nothing to be a perfect black, she does everything to be a perfect white".