After the titillatingly groovy sexy title song "Emmanuelle, Emmanuelle, Emmanuelle goodbye" sung by a husky-voiced Jane Birkin, along with Serge Gainsbourg it simply stays in your head long after the credits have rolled. Oh it's a hard one to shake off. The third feature of the official French "Emmanuelle" series is a step-down from the previous two entries starring Sylvia Kristel as Emmanuelle, mainly on its concentration for the story dramatics than the sexual context. That's not a bad thing, because is a perfectly realized story. Much more grounded, but quite reflective and still adventurous in more ways than one. The erotica is tastefully done, as the sex scenes are watered-down and briskly concluded, but it still has Emmanuelle with her swinging husband openly experimenting with their sexual desires. However how this one changes, is now Emmanuelle begins to question/or have second thoughts about this free-spirited lifestyle her husband encouraged when the arrival of a film director gains her interest. What starts off as a curiosity with the stranger becomes a lot more, where Emmanuelle and her husband rock-solid relationship of keeping no secrets begins to show cracks --- and jealously rears its ugly head.

Director Francois Letterier beautifully scenic direction of a pristine Seychelle is elegantly captured and presents a strikingly lush local flavour. The exotic music score is melodic, fitting the mellow tone. The performances are perfectly etched as the enticingly stunning Sylvia Kristel (a true goddess) shows not only she has a seductress pull, but can carry a film with a strong liberated performance. Umberto Orsini and Jean-Pierre Bouvier are solid too.

I have always treasured fond memories of the EMMANUELLE series (offical entries and otherwise) from my movie-going days before hardcore pornography became legally available in my native country of Belgium. Unfortunately, this third installment is by far the weakest of the lot. The story is tired and largely devoid of interest, picking up lazily where part 2 left off with yet more trials and tribulations from the open marriage shared by Emmanuelle and Jean. Pretty pictures of the Seychelles will make you long for your next summer holiday but Serge Gainsbourg's repetitive soundtrack, consisting of two (count 'em!) endlessly rehashed theme tunes, will have you throwing any object within immediate reach at the telly by the halfway point.

Thankfully, Dutch goddess Sylvia Kristel was still around to essay the title character, dropping her already skimpy wardrobe at the slightest urging. She's the main reason why I still watch whenever this one pops up on late night TV, along with the pleasingly undraped appearances by the late Olga Georges-Picot – who, sadly, chose to end her own life as years progressed and fading beauty presumably left her unemployed – and Charlotte Alexandra who played the title role in Catherine Breillat's sulfurous UNE VRAIE JEUNE FILLE.

Unless you're a completist (in which case you may need professional help as much as, well, I do),stick to the original and its glossy first sequel or parts 4 (featuring hymen restoration in Brazil long before this became a medical possibility),6 (scripted by Jean Rollin, so you know proceedings are going to get pretty screwy) or the elusive virtual reality themed 7 with Kristel returning and even dressing up as a nun – perhaps inspired by BLACK EMANUELLE Laura Gemser's similar travesty in Giuseppe Vari's SISTER EMANUELLE ? – for the film's unforgettable final scene !

Emmanuelle (a typically captivating portrayal by the exquisite Sylvia Kristel) and her husband Jean (a likable performance by Umberto Orsini) continue with their open relationship. However, complications ensue after Emmanuelle falls in love with filmmaker Gregory (the handsome, but stolid Jean-Pierre Bouvier) and Jean feels jealous for the first time because of this.

Director/co-writer Francois Leterrier relates the touching and compelling story at a pleasingly languid pace, makes fine use of the gorgeous tropical Seychelles locations, brings an appealingly nonjudgmental attitude to the subject of casual sex, and manages to state a provocative central point on how even free love has its limits with ever resorting to any heavy-handed moralizing. A bevy of beautiful ladies provide substantial enticing eye candy: Besides the fantastically pulchritudinous Mrs. Kristel, we also have the foxy Olga Georges-Picot, yummy Charlotte Alexandra, slinky Caroline Laurence, comely Sylvie Fennec, and fetching Radiah Frye. The abundant tasty female nudity, Jean Badel's sumptuous widescreen cinematography, and Sergio Gainsbourg's frothy score all further enhance the lazily sensual mood. Great breathy theme song that's panted with arousing aplomb by Jane Birkin, too. A worthy closer.