While not officially a member of either the French Emmanuelle films or Joe D'Amato's Black Emmanuelle series, this in-name-only Emmanuelle picture does boast Laura Gemser among its cast, although she's not the lead and her name is simply "Laura." The plot-less narrative of Velluto Nero (or Black Velvet as it was originally titled) concerns a family of women living in Egypt that have been charmed into submission by a Psuedo-Svengali who may or may not be the real deal. Along comes a model (Gemser - strikingly beautiful as always) and her chauvinistic photographer/love interest to spice things up, and before you know it people are swapping partners (and servants) while Gemser's model, when not forced to pose nude with animal carcasses and slain villagers, becomes ensnared in a goat-murdering religious ceremony. Got all that? Didn't think so.

Black Emmanuelle, White Emmanuelle (also known by about a handful of other titles including Emmanuelle in Egypt) clearly has an agenda, but it has almost nothing to do with titillating the viewer. While Gemser is ravishing, she's given very little to do except contrast her gorgeous naked form against shocking grue that nullifies her allure. This appears to be director Brunello Rondi's endgame: he's obsessed with beauty versus depravity, both literally and emotionally.

Fortunately, Rondi (a Fellini protege) explores these notions with some rather comely actresses supporting Gemser. Nieves Navarro (credited here as Susan Scott) is a vision of an older woman in her role as the matriarch of the Egyptian clan that flirts with inter-family mingling. Haven't seen a facial in a non-pornographic film? Nieves shatters that Taboo for you in a rather surprising moment.

As her daughter, lovely Ziggy Zanger teases and taunts her mother's often tormented servent while Annie Belle (credited as the "White" Emmanuelle in some write-ups) is an almost unearthly vision with her close-cropped white-blonde hair and tone, athletic physique. All seem sort of blas&ecute; about the proceedings, however, as Rondi seems to have only given any emotion to the raging bastard of a photographer portrayed by the late Gabriele Tinti.

So while skin enthusiasts or fans of the Emmanuelle series will get a good helping of full frontal nudity from a cast full of eye-catching women, they'll be sorely disappointed that the director's intent had nothing to do with arousing much more than revulsion (or boredom). That said, Severin Films' gorgeous transfer of the movie seems like much ado about nothing as their efforts to present the movie are wonderfully executed - much more wonderful than anything in the actual movie.