Black Cobra Woman

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Black Cobra Woman
Eva-Nera-poster-small.jpg
Directed by Joe D'Amato
Produced by Oscar Santaniello[1]
Screenplay by <templatestyles src="Plainlist/styles.css"/>
  • Joe D'Amato
  • G. Egle[1]
Starring <templatestyles src="Plainlist/styles.css"/>
Music by Piero Umiliani[1][2]
Cinematography Joe D'Amato[1]
Edited by Bruno Mattei[1]
Production
companies
Airone[1]
Running time
96 minutes [1]
Country Italy[1]

Black Cobra Woman (Italian: Eva nera) is an Italian 1976 exploitation movie written and directed by Joe D'Amato.[3][4]

Plot

Eva (Laura Gemser) arrives in Hong Kong to perform at a night-club doing snake dancing. In the audience is Judas (Jack Palance) and his businessman brother Julius (Gabriele Tinti). Judas takes Eva out to lunch and offers to take him home to see his snake collection which she declines.

After returning home, she decides to move in with Judas where she receives money and gifts from him. Eva than meets a woman named Candy (Ely Galleani) who she is sexually attracted to and Jerry, a girlfriend of Juliu's who introduces her to her lesbian club. On returning from the club, Eva finds that Candy has been killed by a mamba from Judas's collection. This murder is staged by Julius, who resents Candy's attraction to Eva.

Eva later invites Jerry to Judas' home. Julius however is watching from the house and watches them have sex, and places a mamba in their bedrom. Jerry is bitten and dies, which Julius then suggests to Eva to take a trip with him to an island where he was born. Eva enlists two locals to despatch julius with another serpent, which leads to Judas losing his interet in Eva after finding out what has transpired. Eva is then killed while dancing with the mamba.

Reception

In a contemporary review, the Monthly Film Bulletin described the film as "sex movie-cum-travelogue that settles for the usual dull romps. Its single unusual sequence is one which Eva and Jerry cook and eat a snake which has been skinned alive."[1]

In retrospective reviews, AllMovie described the film as "unexpectedly high on style" noting cinematography that had the "glossiness worthy of an Emmanuelle film" but that the film was also "depressingly low on substance", noting the plot which "has a few surprises to offer (the villain's comeuppance must be seen to be believed) but the threadbare script fails to use its novel plot devices to their full potential and never builds interesting or believable characters." The review also noted D'Amato's direction, which was described as "lacklustre" and "never establishes a comfortable pace and pads the film with momentum-killing travelogue footage of Hong Kong."[2]

See also

References

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External links

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