Emmanuelle, reunited with her husband and making love in a wax museum surrounded by images of Hollywood like John Wayne and Superman and you might think, "Wow, Jess Franco making an Emmanuelle movie*, I wonder what that's like?" And then you realize that outside of this scene, the one that follows and the end didn't really have Jess caring all that much. There's no Lina, no jewel thieves, no mist that forces women to comply, not even good music to carry this through.

Muriel Montossé (who was also Cecilia) is Emanuelle, Antonio Mayans is her husband and Carmen Carrión from Night Has a Thousand Desires and Alone Against Terror is on hand. Our heroine finds herself trying to get back with her husband after he leaves her, yet again, when he sees her engaging in sapphic acts onstage. She floats through the world trying to win him over but only ends up assaulted along the way.

I would assume the name was just put on this by whoever chose to play this in their theaters. Even as much as Franco obsesses me, I can come clean and say he wasn't always making a great movie every time.

*I just realize that Franco also made Tender and Perverse Emanuelle which is less Emanuelle and more giallo.

In a film with this kind of title, directed by Jess Franco, it's no surprise that not ten minutes have gone by before the two main characters are enjoying each other's company intimately. Emmanuelle and her husband Andreus have chosen a curiously unfrequented wax museum to indulge in some brief sex. Franco regular Antonio Mayans, billed here as Robert Foster plays hubby.

Of all the many females to have adorned Jess Franco's productions, Muriel Montossé is the one I find the most titillating. That's a purely personal view of course, but apart from her stunning looks and shape, she is also a very good actress, really capable of selling the allure of the two - surprisingly similar - main characters she has played for Franco. In fact, the similarities between this film (which contains no orgies, by the way - the title is typically provocative more than it is accurate) and the following year's 'Cecilia' are palpable. In both productions, the two actors play an equally fractious couple who find their rocky relationship fuelled by their peccadillos.

Here, we have rugged Tony Skios playing Marqués who the film is eager to show us from the opening voiceover onwards, is an absolute swine. His sharp-dressed swagger and smouldering looks paint him as a very laconic rotter, except other than proving to be less sexually impressive than he believes himself to be, he proves to be as much of a cypher as the other characters. The plot peters out into a flurry of thankfully non-invasive sex scenes, all accompanied by briskly plucked flamenco guitar music. No need to worry about missing any vital parts of the storyline because there aren't any - but then, any aficionado of Franco would be familiar with this approach. By the end, it is unclear whether the viewer has lost interest in the film, or Franco himself; it does seem very slapdash in its final act.

Muriel Montossé has escaped the fate of some of Jess's performers and enjoyed a prolific career, and she certainly gives Emmanuelle more overt sexuality and character than we might otherwise have got, but despite the lip-smacking locations, there's not a huge amount to get excited about here. My score is 5 out of 10.

This is not a great Franco film nor even a great sex film but it is still likable enough. Fantastic settings and enough 'action' to keep most happy. We don't really get an orgy, merely two couples in adjacent areas peeping at each other. In fact this final scene is probably the film's worst. For some reason both couples are placed in incredibly uncomfortable positions which they struggle to get out of and the desired 'peeping' looks more as if they are not approving of one another. There are some very good scenes, however, and the ironic and completely over the top narrative from the 'noble Spaniard' really is funny. He tells us it is useful to have a woman so there is someone to jerk off the servants and that he prefers his dog because at least he is a thoroughbred! The young female visitor is also raped by a couple of native Spaniards because 'that's what they come here for'. So not your everyday soft core but Franco fans will know what to expect