CARRY ON EMMANNUELLE
Aspect ratio: 1.85:1
Sound format: Mono
"Carry On" regular Sid James had been dead for almost two years when this threadbare concoction hit UK cinemas in 1978, and principal scriptwriter Talbot Rothwell had retired from the business in 1975 following a bout of ill health, throwing the long-standing (and extremely lucrative) "Carry On" series into disarray. While CARRY ON EMMANNUELLE isn't the worst of them - that 'honor' belongs to CARRY ON ENGLAND (1976), an utterly turgid wartime entry - Lance Peters' script was initially rejected by star Kenneth Williams as unworkable, though the finished product could hardly be worse! A mild, half-baked spin on the "Emmanuelle" series (inspired by Just Jaeckin's 1974 softcore drama), the 29th "Carry On" epic features Williams as the French ambassador to London, whose sexpot wife (Suzanne Danielle, surprisingly assured in her screen debut) has it off with all and sundry whilst pining for her husband's absent libido (lost when he landed on a church spire during a parachute jump - which demonstrates the film's level of wit). Series stalwarts Joan Sims, Jack Douglas, Kenneth Connor and Peter Butterworth look suitably embarrassed as members of the ambassador's household staff, and Larry Dann plays a downtrodden nerd who falls in love with Danielle following an amorous encounter on Concorde; Beryl Reid is his mum, a vision in chintz.
Opening with a dreadful disco ditty ('Love Crazy', written by Kenny Lynch and sung by 'Masterplan') which must have seemed dated even in 1978, CARRY ON EMMANNUELLE swaps the double entendres and deconstructive satire of Rothwell's era for a barrage of blatantly obvious sex jokes, none of which are even remotely funny, while Williams is reduced to mugging frantically over Danielle's 'suggestive' dialogue and dropping his drawers every time there's a lull in the action. While exploitation fans in other countries had been enjoying frank cinematic depictions of sex and sexuality since the late 1960's, British voyeurs - ie. those whose tastes ran more to NAUGHTY KNICKERS (1970) and DEEP THROAT (1972) than the mature exploration of adult themes favored by Ken Russell (THE DEVILS), Stanley Kubrick (A CLOCKWORK ORANGE) and others at the cutting edge of mainstream outrage - were forced to endure heavily censored imports and tawdry homegrown comedies (I'M NOT FEELING MYSELF TONIGHT, CAN YOU KEEP IT UP FOR A WEEK?, LET'S GET LAID, etc.) which reinforced sexual stereotypes of every persuasion, and CARRY ON EMMANNUELLE is no better or worse than any of them. Having bombed at the box-office, this SHOULD have been the series' last gasp, but director Gerald Thomas and producer Peter Rogers revived the format in 1992 for the equally lackluster CARRY ON COLUMBUS, while "Carry On London" (shudder!) currently exists in pre-production limbo. All together now:
"That woman is lo-o-ve crazy / She's lovin' all night! / That woman is lo-o-ve crazy / Won't stop for a bite!..."
Told you it was dreadful, didn't I?...
Aspect ratio: 1.85:1
Sound format: Mono
"Carry On" regular Sid James had been dead for almost two years when this threadbare concoction hit UK cinemas in 1978, and principal scriptwriter Talbot Rothwell had retired from the business in 1975 following a bout of ill health, throwing the long-standing (and extremely lucrative) "Carry On" series into disarray. While CARRY ON EMMANNUELLE isn't the worst of them - that 'honor' belongs to CARRY ON ENGLAND (1976), an utterly turgid wartime entry - Lance Peters' script was initially rejected by star Kenneth Williams as unworkable, though the finished product could hardly be worse! A mild, half-baked spin on the "Emmanuelle" series (inspired by Just Jaeckin's 1974 softcore drama), the 29th "Carry On" epic features Williams as the French ambassador to London, whose sexpot wife (Suzanne Danielle, surprisingly assured in her screen debut) has it off with all and sundry whilst pining for her husband's absent libido (lost when he landed on a church spire during a parachute jump - which demonstrates the film's level of wit). Series stalwarts Joan Sims, Jack Douglas, Kenneth Connor and Peter Butterworth look suitably embarrassed as members of the ambassador's household staff, and Larry Dann plays a downtrodden nerd who falls in love with Danielle following an amorous encounter on Concorde; Beryl Reid is his mum, a vision in chintz.
Opening with a dreadful disco ditty ('Love Crazy', written by Kenny Lynch and sung by 'Masterplan') which must have seemed dated even in 1978, CARRY ON EMMANNUELLE swaps the double entendres and deconstructive satire of Rothwell's era for a barrage of blatantly obvious sex jokes, none of which are even remotely funny, while Williams is reduced to mugging frantically over Danielle's 'suggestive' dialogue and dropping his drawers every time there's a lull in the action. While exploitation fans in other countries had been enjoying frank cinematic depictions of sex and sexuality since the late 1960's, British voyeurs - ie. those whose tastes ran more to NAUGHTY KNICKERS (1970) and DEEP THROAT (1972) than the mature exploration of adult themes favored by Ken Russell (THE DEVILS), Stanley Kubrick (A CLOCKWORK ORANGE) and others at the cutting edge of mainstream outrage - were forced to endure heavily censored imports and tawdry homegrown comedies (I'M NOT FEELING MYSELF TONIGHT, CAN YOU KEEP IT UP FOR A WEEK?, LET'S GET LAID, etc.) which reinforced sexual stereotypes of every persuasion, and CARRY ON EMMANNUELLE is no better or worse than any of them. Having bombed at the box-office, this SHOULD have been the series' last gasp, but director Gerald Thomas and producer Peter Rogers revived the format in 1992 for the equally lackluster CARRY ON COLUMBUS, while "Carry On London" (shudder!) currently exists in pre-production limbo. All together now:
"That woman is lo-o-ve crazy / She's lovin' all night! / That woman is lo-o-ve crazy / Won't stop for a bite!..."
Told you it was dreadful, didn't I?...