Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Winifred The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

BA_Harrison By 1978, the tried and trusted Carry On formula of saucy seaside innuendo and silly slapstick no longer seemed relevant, especially in a world where nudity and sex in the cinema had become commonplace; in an effort to get bums on seats, the series' makers looked towards the world of soft-core porn for inspiration, riding the wave created by the success of Just Jaeckin's Emmanuelle (1974).Sadly, Carry On Emmannuelle (double consonants throughout, presumably to avoid legal issues) proves to be one of the worst of the whole Carry On series, a laugh free exercise that replaces suggestive humour with blatant and not-at-all-funny sex gags, and knockabout silliness with an excess of bare flesh (and not just from its sexy star Suzanne Danielle as the film's titular French nymphomaniac: in what must have been a career low, Kenneth Williams strips for the camera as well).Sid James escaped the embarrassment of appearing in this mess by dying two years earlier; Carry On regulars Williams, Kenneth Connor, Peter Butterworth and Joan Sims weren't quite as lucky, their resumé forever blighted by this tawdry flop. Ever the professionals, they soldier on, rattling out the dire one-liners with as much enthusiasm as they can muster, but unsurprisingly fail to produce the laughs, the material being even more tired and worn out than the cast delivering it.

w22nuschler Like another reviewer said, the song "Love Crazy" at the beginning is a great song and the best thing about this filthy film. Most of the other Carry on films are naughty fun, but not filthy. This film starts out with Emmanuelle going down on a guy in the bathroom and then we see Kenneth Williams bare butt in his room. Ugh! Another minus for me is the fake french accents they both use. Man, they are awful. Joan Sims and Kenneth Connor & Peter Butterworth play the help at Kenneth Williams home. Jack Douglas plays the butler. Kenneth is an ambassador and Emmanuelle is his mistress/wife. We see more of Kenneth's butt again, ewww! She basically goes around flaunting her body and sleeping with everyone. She then asks the hired help to describe their wildest affairs. This is more waste of film. I read Barbara Windsor walked out on this film because it was too risqué. She was right. It's also not that funny. Emmanuelle continues to sleep with every guy she sees, exposing her butt a couple of times. Her body is OK, but the french accent is annoying. She is upset her husband does not care about her exploits, so she bangs the whole soccer team, one at a time. An ex-lover decides to write an article about her affairs and she admits it's all true. She and Kenneth do it at the end and she gets pregnant and has a bunch if kids. That's it. I give it a 3 and that's partially for the great theme song. This is the worst of the Carry On films. Yes it's worse than Carry on Columbus because at least that film had Jim Dale and the sexy Sara Crowe.

Libretio CARRY ON EMMANNUELLEAspect ratio: 1.85:1Sound 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?...

tom farrell Love 'em or loath 'em, a certain indefineable Englishness could always be distilled from the Carry Ons, even the ones set in Ancient Rome or The Wild West. They started out in black and white, stable mates to Norman Wisdom and assorted Ealing comedies and wound down two decades later when the permissive society has made their nudging winking humour obsolete. Through the years, the same actors kept resurfacing parodies of silly suburban Englishness: the leathery lecher Sid James, the squeaky blonde Babs Windsor along with demure Charlie Hawtrey, bulgy eyed Kenneth Williams, repressed matron Hattie Jacques and sharp faced nag Joan Sims. It was the repetition and safeness we cherished, the over the top boooiings! and deliberately crass innuendos, Babs' bra flying off amid stretching exercises and hitting a horror-struck Williams in the face: "Oooh! Matron! take them away!" Far from being 'sex comedies', the Carry Ons are also childishly innocent. None of the villains e.g. Bernard Bresslaw as Bunghit Din in 'Up the Kyber' are genuinely bad. Sid's ear is forever being grabbed by Sims before he can do anything with Babs. All of these elements are absent from Emmanuelle and the result is painful and repulsive. Rogers' dire payment of his actors meant they had little choice but to return time and time again to Rothwell's scripts. By 1978, Sid James was dead, Charles Hawtrey sacked and Jacques (along with Windsor Davies and Terry Scott) committed to better-paying BBC sitcoms. Barbara Windsor reportedly walked out on this one and it's puzzling that her close friend Williams didn't do likewise as he'd already been burnt by the wretched 'Hound of the Baskervilles.' Peter Butterworth, Joan Sims and Kenneth Connor chip in but you know a movie is in trouble when Benny Hill's straight man (Henry McGee) is brought along to make up the numbers. Attempting to capitalise on the success of the French 'Emmanuelle' movies, the old pre-feminist and pre-pill approach to sex is junked in favour of a movie where the elderly Williams is shown copulating with Suzanne Danielle. In her role as Emmanuelle Prevert (pervert get it...? Swiftian wit,we think) Danielle attempts to find satisfaction after Williams was castrated in a nude hand-gliding incident by bedding innumerable men, while a rubbish 'disco' number plays. Meanwhile, shy mother's boy Theodore falls for Danielle and the servants recall their own lamentably unsexy brushes with the permissive society. By the time of this movie's release, the Carry Ons were already dinosaurs and the 1974 effort 'Carry on Dick' was when the series should have been wound up. Other comedies of the time 'Confessions of a...' or 'Percy' have not dated well, but the sea side bawdiness of the 1960s Carry Ons will just about make them watchable on a Sunday afternoon. Not this effort, interesting only as a cruddy little snapshot of post-sixties, pre-Aids views on sex. With Emmanuelle, the Carry Ons died although the stake had to be sharpened one last time in 1992 when the even worse 'Carry on Columbus' rose from the coffin.