One of numerous cash ins on the successful Black Emanuelle films from Joe D'Amato, which were in turn cash ins on the successful Emmanuelle series launched by Sylvia Kristel, Emanuelle's Daughter – Queen Of Sados continues the sleazy tradition that D'Amato kicked off and this time sets the action in Cyprus.

Written and directed by Elia Milonakos, who made quite a name for himself by helming numerous sexploitation pictures from the hey day of the genre starting in the late seventies through to the mid eighties, Emanuelle's Daughter once again places Laura Gemser in her signature role as Emanuelle. She's married to a wealthy businessman who, early on, is found dead under some very dubious circumstances. Upon his demise, Emanuelle shows up at his island mansion to take charge of what he's left to her, including their daughter, Livia (Livia Russo).

As the movie progresses (that's being generous, using that term), we find out that Emanuelle's now late husband was a bit of a bastard and that he mistreated her and subjected her to his wanton and randy desires whether she liked it or not. Was his death part of her revenge plot? Who's that guy with the big gold medallian around his neck named Mario (Haris Tryfonas a.k.a. Harris Stevens who played opposite legendary sex change diva Ajita Wilson in Black Aphrodite)?

Short on plot but heavy on hairy, sleazy sex scenes, Emanuelle's Daughter is a lackluster Euro-sex affair that manages to capture some nice scenery (both literally and figuratively) but not much else. The plot exists for the sole reason of introducing one bedroom rendezvous after the next, spicing it up with a couple of reprehensible rape scenes (the most torrid of which is when the very young looking Livia is manhandled in the surf of the beach where much of the action takes place). In short, it's typical sexploitation fare – it sticks to the formula and doesn't try anything new, but it delivers exactly what you would expect it to. It's a goofy soap opera with gratuitous nudity and lots of dry humping.

The Cyprus locations look good on film and the females in the cast are definitely an attractive lot, but that isn't quite enough to make this one as good as other entries in the genre or in the series. It lacks the sheer craziness of Divine Emanuelle or the complete and utter disregard for good taste that D'Amato's films in the series had going for them – it's very much a by the numbers entry. That being said, it still features plenty of Laura Gemser doing her thing. The woman had tremendous screen presence and it's almost enough to get this one off the ground a few times, but sadly the scenes in which she was not involved can't hold their own and this one sinks because of it.

Video:

Despite the fact that the back of the packaging states that this is an anamorphic 1.33.1 widescreen release (seriously, it does, that's not a typo on my part), it is in fact full frame and it is also, once again, not flagged properly for playback on progressive scan hardware. Some scenes look a little cramped (though that could be intentional on the part of the cinematographer) but for the most part the compositions make it through okay – whether or not the film was meant to be shown fullframe is debatable, but nothing is compromised too horribly with this framing so it's a safe guess that this probably is the correct aspect ratio. Print quality is average – there's some damage here and there, some specks and mild scratches, but the colors come through nicely. The black levels stay deep, but fine detail is a bit on the washed out side and a few scenes are heavy in terms of grain.