Although several cuts above the average Emanuelle opus, the only character who generates any interest here is Haris Tryfonas as Mario, the hit-man hired by Emannuelle to bump off her wealthy perverted husband by arranging a fatal accident. Most of the film centers on Mario's continuous casual but very passionate conquests of the fair sex and he is mostly responsible for the film's erotic scenes as he trails Emanuelle to blackmail her. A couple of these scenes are with a woman he met on the plane to Cyprus and they're both erotic and humorous: as soon as she puts some eggs in the frying pan or some fresh coffee on to boil when he arrives, he inevitably "has at her." The eggs heat up and explode, or the coffee boils over and splatters, a perfect accompaniment to their hot, passionate sex bouts. Mario is actually pretty cool in demeanor until his vicious side comes out...and his brutal, graphic rape of the spoiled pubescent stepdaughter destroys any feelings of approval one might have formed for him. Emannuelle in this film is just as immoral and coldblooded, mean and vicious.The abrupt ending only hints at her ambitions coming to an end when her part as instigator in the murder plot is revealed. Worth watching for Tryfonas' performance which is the only element in this that hold one's interest. With his memorable portrayal of the sinister but sexy lady-killer with the fresh daily rose in his teeth, Tryfonas alone raises it to a 7. Without him there would be no film at all, and it would rate barely a 3.

The Emanuelle series is basically made up of two types of film; 'official' entries (as official as an Italian rip-off of a French porn series can be) and random Laura Gemser films that were re-titled 'Emanuelle' to help them sell. Emanuelle: Queen of Sados, is one of the latter. The film is something of a crime-drama...although it could be better described as 'wall to wall sex scenes', as that's mostly what it is. Anyway, the plot basically hinges on a woman whose plan to hire a killer to murder her husband backfires when the killer begins blackmailing her. In the version I saw, Laura Gemser's character was called 'Emmanouella', although despite a similar name; she has no relation to the journalist character seen in the official entries. The title is interesting...and I really have no idea where the 'Queen of Sados' part comes from. Perhaps it was an attempt to fool audiences into thinking that the film has something to do with sadomasochism? Anyway...I really can't say that this film is all that interesting. The sex scenes are not bad, but do become monotonous after a while; and the cinematography isn't great either so it doesn't benefit from good looking scenes like the earlier Black Emanuelle, White Emanuelle did. I'm not sure what fans of the series would make of this film; but Laura Gemser is in it (and looks great as usual) so that's something at least. Overall, I'd put this in the mid-range of Emanuelle films and only fans of the series need apply.

I've said it before and I'll say it again. Goddess Gemser is beautiful.This is typical of the films she had been doing. Rich, greedy people trying to put one over on each other. Said people have weird ideas about love too.She starts by fiddling with a guy in order to get him to kill another guy by pouring sand into his airplane gas. She succeeds, then takes over a young woman's life.She plays out of type here though. She's meant to be seen as evil. Her actions were those of a real harpy.The scenery was lush and the nudity was rampant but the story was a bit old. Fans of Goddess Gemser (ME ME ME) will enjoy it for sure.

`That girl' Laura Gemser was permanently plastered across adult cinema screens in the 70s. Hardly a great actress but an absolute stunner, the Javanese-born former model came to international attention in the 1975 smash Black Emanuelle (that's one M to avoid prosecution). She also guested with Sylvia Krystal the same year in Emmanelle 2 as a masseuse, then made five more `official' Black Emanuelle sequels for the notorious `Joe D'Amato'/Aristide Massaccesi, including the gut-munching sleaze of Emanuelle And The Last Cannibals. Countless other titles in Gemser's 50-plus filmography have been retitled to cash in on her fame. Emanuelle's Daughter started out as `Sexy Moon', certainly not one of Gemser's best - my pick is Divine Emanuelle (aka Love Camp, 1980), a ludicrous Jonestown-style musical (!). An often turgid softcore soap opera and travelogue, it was filmed in Cyprus at the height of the Euro-disco craze (you can see the Village People perform `YMCA' on a TV set!). A rich industrialist dies under mysterious circumstances, and his widow ‘Emanuelle' returns to his estate in control of his fortune and his young rebellious daughter. It appears Emanuelle was subject to her husband's perverted whims, and now seeks revenge on his partners-in-crime with the help of the vicious womanizing disco king Mario (Gemser's long-time husband Gabriele Tinti). The film explores the daughter's budding sexuality; Cyprus must have a lower age of consent, as she looks about 14 with her gear off. Familiar face Gordon Mitchell, former muscleman and star of countless westerns and Hercules films, plays one of the husband's cronies, and is dubbed by the voice of Bud Spencer - I keep expecting him to down 14 hotdogs and clock Gemser on the nut! Passable disco tail-waver.