The 1970s is known as the era of disaster movies, but the Me Decade also saw Italy release some of its greatest exploitation flicks. One example is Joe D'Amato's "Eva nera" ("Black Cobra Woman" in English). Laura Gemser plays a snake dancer who hooks up with some strange people in Hong Kong. Jack Palance has a great time playing a snake aficionado. But I'd say that the movie's main purpose is to show Laura Gemser's naked body (and she DOES have a fine one). The movie contains just about every guilty pleasure imaginable. The movie makes no pretense about what it is. It might make you want to go to Hong Kong, but more than anything it'll make you wonder why Laura Gemser stopped acting. Maybe Quentin Tarantino will give her a bit part in a movie one day.

Anyway, a really fun movie, especially a certain shower scene (every exploitation flick's gotta have one of those). Among D'Amato's lesser movies was "The Blade Master" - aka "Cave Dwellers" - which got riffed on "Mystery Science Theater 3000".

Eccentric wealthy playboy Judas (Jack Palance in fine freaky form) lives as a near reclusive in a posh apartment in Hong Kong that's filled with all kinds of snakes that he treats like his children. Judas becomes smitten with sultry exotic dancer Eva (the ever-luscious Laura Gemser) after he sees Eva's nigh club act that involves dancing with a large snake and invites her to stay at his place. However, Judas' depraved and duplicitous brother Jules (a deliciously slimy portrayal by Gabriele Tinti) wants Eva for himself. Writer/director Joe D'Amato relates the engrossingly weird story at a steady pace, maintains a suitably seamy and off-kilter tone throughout, and, most importantly, delivers oodles of tasty undraped distaff skin and sizzling soft-core sex (Gemser as usual bares her delectably slender figure with pleasing frequency, with a massage parlor session and a shower shared with a slim blonde rating as the definite steamy highlights). Moreover, Judas' bizarre fixation on slithery reptiles gives the picture a super peculiar charm while the exotic Hong Kong locations provide an extra tangy flavor (and only D'Amato would include a scene with two hot babes happily eating freshly cooked snakes!). Better still, one guy ultimately winds up having a snake put where the sun doesn't shine and the surprise downbeat ending packs a startling grim punch. Kudos are also in order for Piero Umiliani's smooth groovy score and D'Amato's glossy cinematography. Good outré trashy fun.

Eva Nera (AKA Black Cobra) is my favorite entry in Joe D'Amato's infamous "Black Emanuelle" series. Also known as "Emanuelle Goes Japanese", this film features no characters named Emanuelle, and doesn't take place in (or in any way allude to) the country of Japan. Other than these minor details, Eva Nera exhibits every other trait of a Black Emanuelle movie, including of course Laura Gemser as the main character, and the ever-present douche-bag Gabriele Tinti lurking somewhere in the cast. And though this movie lacks some of the overt acts of depravity that other Emanuelle flicks are known for, it offers three times that in the form of a more subtle weirdness.

The movie begins with Eva's arrival in Hong Kong. Played by the beautifully boring Laura Gemser, Eva's character is essentially the same as Black Emanuelle: a frigid, vapid, nonchalantly nymphomaniacal bisexual nudist mannequin-like temptress. Unlike Emanuelle, who is a reporter, Eva is a snake dancer. Here we use the term "dancer" loosely to mean standing around naked and arrhythmically flailing your arms while holding a live snake.

As you would expect from Joe D'Amato, the story that follows is totally nondescript and irrational, and mostly serves as a vehicle for him to express his most banal ideas of what constitutes eroticism. The remarkable thing is that, unlike other of his creations, like say Emanuelle and The Last Cannibals, here D'Amato tries to exercise restraint, which results in a bizarre, watered-down version of the typical D'Amato fetishes. Included are the mandatory nudism, lesbianism, morbidness, and the gawking fascination with all things foreign and Exotic that characterizes D'Amato's work, minus the ultra-violent sadism that he's also famous for. Along the way, D'Amato's camera still manages to objectify and diminish every single living and non-living thing it gazes upon, whether it be the bland characters, the city of Hong Kong, those oh-so-dangerous snakes, or deeper aspects of human experience such as love and death.

None of this would stand out much were it not for two key elements that make Eva Nera exceptional: the haunting euro-soundtrack and the mind-blowingly strange performance by Jack Palance, whose character is so freakin' weird it defies description. Highly recommended.