Watch Emanuelle and the White Slave Trade For Free

Really Surprised!

A different way of telling a story

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

This film is so real. It treats its characters with so much care and sensitivity.

Whilst in Nairobi to interview reclusive gangster Giorgio Rivetti (Venantino Venantini), feisty photographer and reporter Emanuelle (Laura Gemser) stumbles upon the existence of a powerful prostitution and white slave trade racket operating out of the US.After banging Rivetti, rolling in the sack with a prince (Pierre Marfurt) and showering with her best friend Susan Towers (the gorgeous Ely Galleani), Emanuelle returns to NY to go undercover as a poor woman willing to sell herself for sex. Infiltrating a high class brothel, she sets about the dangerous task of exposing the unscrupulous organisation.The last of the Emanuelle films to be helmed by trash king Joe D'amato, White Slave Traders is a surprisingly tame affair in comparison to the director's other entries in the series: Emanuelle in America, Emanuelle and the Last cannibals, and Emanuelle Around the World. Where those films relied on scenes of hardcore sex and extreme gore to shock their audiences, this one sees old Joe content to present the usual smörgåsbord of soft-core sex acts and lightweight sleaze that typify the character's non-D'amato adventures.Fortunately, the story is actually half-decent for a change (well, by Emanuelle standards) and there is just enough gratuitous nudity and outrageous silliness still make it worth a watch: during the course of the film, Gemser rubs one out whilst watching Susan shag a mechanic, partakes in a drug-fuelled menage-a-trois, runs naked through the African bush, satisfies an ageing senator, humps kung-fu transvestite Stefan (Nicola D'Eramo), and is rogered by a gang of thugs in a bowling alley. You'd think that by the end of the film she would be exhausted, but in a fittingly trashy finale, the game girl offers herself to a group of fishermen in exchange for a lift back to the city on their boat.I think they call that 'working your passage'.5.5 out of 10, rounded up to 6 for IMDb.

Although it is still somewhat obscure, this is one of my favorite of the "Black Emanuelle" series. Some films like "Emanuelle in America" and "Emanuelle Around the World" are a little too sleazy, while others like the original "Black Emanuelle" are not quite sleazy enough, but this film is juuust right.While hanging around Africa for some reason, intrepid reporter/photographer "Emanuelle" (Laura Gemser) stumbles across a white slavery operation (OK, so it doesn't exactly make sense to have a WHITE slavery operation in Africa where hardly anyone is white, but oh well). After hiding and taking lots of photos of naked, barely legal girls being paraded back and forth in front of potential "buyers", "Emanuelle" has a run-in with the vicious male transvestite who's running the operation. His rather confused sexual orientation doesn't stop him from raping her, but later they team up. There's some pretty graphic violence and another unpleasant gang-rape scene, but it's hard to take any of this too seriously when "Emanuelle" herself obviously doesn't (She eventually makes her way back across the Atlantic on a filthy trawler by agreeing to gang-bang the entire crusty, old crew).Most of the serious sleaze is relegated to the second half of the movie, but the first half is much more sexy. "Emanuelle" teams up with a friend, played by very pretty Italian actress Ely Galeani (who was also in "Emanuelle in Bangkok") to get a scoop on a con artist hiding in the dark continent. Of course, they get the story, first by "doing" him and his friend and then by both "doing" him in a three-way scene while they all smoke strange drugs out of a hookah (god, I love the socially irresponsible 70's!). Galeani's character also has an interesting way of "paying" her African auto mechanic in an interracial sex scene that takes place in a lube pit while "Emanuelle" watches and pleasures herself (this scene was kind of borrowed from the first "Black Emanuelle", but director Joe D'Amato manages to improve on it). I also actually kind of liked the cheesy Euro-disco title song "Run, Cheetah, Run", which they play during all the hottest sex scenes with Galeani and Gemser, and which will have many viewers drooling like Pavlov's dogs whenever they hear it by the time the movie ends. Recommended.

The final Black Emanuelle collaboration between director D'Amato and actress Laura Gemser is perhaps the most conventional, structurally, of their films together. It still flits madly between genres, like some crazed canary battering its wings against its cage, but it does keep Emanuelle as a central protagonist in a recognisable three act structure, with a single plot going all the way through.The first half hour takes place in Nairobi, giving D'Amato the chance for some Mondo-like shots of wildlife and tribal ritual. Emanuelle is trying to secure an interview with a European businessman who lives the life of a baron in the country, and we see her infiltrate his defences through cunning guiles and seductions. This first half hour includes a typical soft-core encounter, as Emanuelle's friend and guide gets laid by her garage mechanic in his pit, plus a couple of nifty sexual montages, one interspersing lovemaking with tribal ritual, the other filming a love scene from behind columns, the camera tracking round and the screen going black as it glides behind a post; these two scenes bring into play the usual soft-core soft-soap of sex being associated with primitivism and loss of consciousness. But as usual, D'Amato has bitterer fish to fry, and the first half hour also has Emanuelle witnessing what looks like the trafficking of a woman against her will.Back in New York, after rekindling her affair with a fashion photographer, Emanuelle does a James Bond and goes undercover into the world of the white slave trade. A striking sequence in a plush hotel has her peaking in on an auction in which young girls are bought like cattle (we share her hidden POV); she then pretends to be a poor girl and is taken up by a trader, put on a sex farm and told to please the rich, powerful old men who go there. The owner, one Madam Claude (a reference presumably to Just Jaeckin's 1977 film of that name), keeps a tight house, forbidding her workers to stray outside of their allotted apartments on her ranch. Of course, Emanuelle strays and discovers that Madam is trafficking very young girls from the ranch to foreign climes. This discovery puts Emanuelle in considerable danger, a danger nicely prefigures by the nervy POV walk we do with her on arriving at the airport to depart for the San Fransico-based farm.The most intriguing character in the film is Stefan, the burly transvestite duenna at Madam Claude's. Always in drag, he bosses the girls around and seems like Madam's best arm, but despite being cast as a eunuch at a harem, he falls for Emanuelle's charms and sleeps with her. This makes him vulnerable, as when he catches her taking pictures for evidence he decides to help her – but that brings down the wrath of Claude's thugs onto his head, and despite putting up a spirited kung fu fight, he is violently murdered. Stefan operates in a strange position in the sexual politics of the film – he works for what is ultimately patriarchal power, farming girls like cattle for old men, but his emotions and his low position in the food chain feminize him as much as his dress. It is no surprise that a man who doesn't play the male role "properly" finds himself as disposable as the women seem to be in this world.Emanuelle and the White Slave Trade, like its predecessors Emanuelle in America and Emanuelle Around the World, uses the soft-core genre to ask some hard questions about the darkness sexuality can encompass as well as the commoditisation of women in a patriarchal system. It isn't as gobsmackingly out there as either of those films, but it does move at a steady pace as well as taking its audience into uncomfortable areas around the exploitation of women. It is no surprise that D'Amato made no Emanuelle film after this (except a cynical compilation) as he was beginning to repeat himself, and had darker areas to explore than could be borne by the soft-core genre which he'd taken to its limits.

This is a quite enjoyable little flick, though not as ingenious as Emanuelle and the last Cannibals. Unfortunately, it does not offer the same levels of gore and violence but somewhat compensates this shortcoming by excessive amounts of soft-core and an even more terrific sound-track by the same composer. The "safari"-scenes and the fight in the bowling-alley are unforgettable. Recommended to all fans of 70's sleaze but perhaps not to the general audience.