It’s Italian Horror Week Part 2, right? That means we should have at least one feature focusing on sequels of Italian Horror features. For better or for worse legitimate and bastard sequels have been produced for many an Italian movie. Some of these sequels focus on the original source material and actually try to play legitimate follow up to its predecessor. Others prefer to be sequel in name only, truly diverging from the original work and often times by a completely different production team or studio. Then, of course, there are the third varietal of sequel. The sequel that has no reference to the original source material, is sequel in name only and was named as a sequel solely to capitalize on the success of the original movie. These movies will confuse and taunt the horror fan. You’ll go into Twitch of the Death Nerve aka Bay of Blood thinking you’re going to see Last House on the Left Part 2 only to realize that you’re actually watching the “source material” for Friday the 13th and its sequel. In your heart of heart you know that there’s no Last House on the Left Part 2. David Hess and company didn’t get up out of their respective graves to ravage and destroy another set of girls’ lives. This is marketing genius or at least its marketing.
Let’s run down a few. We do not claim this to be a complete list, but it should start you off on the right track as to whether you’ve got a legitimate sequel, a name only marketing sequel or a blatant attempt to cash in on a successful franchise by persons who may not have your interest in mind as a movie-goer. Before we get into it, it’s also important to note that in no way does a film being a legit sequel, illegit sequel or a non-sequel suggest whether a film is actually good. Sequels in the Italian Horror-verse can be just as entertaining if not more so than the original (as with any country of origin).
Anthropophagus 2 aka Absurd aka Horrible
I like to refer to this movie as the film of a 1000 titles. Many features from Italy have the luxury of being called by many a nickname or marketed name depending on where you are on the planet and when the movie was distributed and who distributed it. I truly refer to this as Anthropophagus 2 or Absurd. Stars George Eastman and directed by Joe D’Amato as was the original. The movie opens with George Eastman playing with his innards, a scene that should be wholly familiar to those of you who have enjoyed the original Anthropophagus aka Grim Reaper. While the story than diverges into a strange, invincible killer on the loose tale, the killer is always silent, violent and kills without mercy. It has a very similar feel to an Anthro Coming to the Mainland.
On a somewhat humorous note, I’ve always scene the Wizard Video big box of Monster Hunter and ogled it from afar. I love the entire collection of tapes. They’re pure 80’s gold. Never did I suspect for a moment until I was gifted a copy by Tomb It May Concern’s David Z. that this is actually Absurd/Anthro 2. The battle of the Italian Horror titles continues. This won’t be the last time we discuss this during Italian Horror Week or even in this article.
Demons 2 and Demons 3 aka The Ogre and The Church and Black Demons
This is a rarity in Italian Horror sequel-dom. This is a direct sequel to the original, 1985 classic. It occurs several years after the “outbreak” of demons in the Metropol. Of course a mishap causes a new rise of demons to permeate a completely different locale and with a completely new cast of characters though Bobby Rhodes does make an appearance. Not as Tony the Pimp, but as a muscle man. Both the original Demons and this sequel have a similar production team featuring producer Dario Argento and director Lamberto Bava. The return of said team seems to have kept cohesion in more than just movie feel and plot continuity. The music is similar though the original music from each film has a different composer at the helm, and the attention to popular new wave and punk and rock acts on the soundtrack unifies the two films. Even the look of the demons “feels” similar though I would say not completely the same between each picture.
This is a well-crafted sequel, the first Demons movie I was exposed to and remains one of the movies that I consider to be a pivotal moment in my horror viewing career. Both the original and sequel are to be released this November through Synapse on Blu-ray in with gorgeous steel box packaging.
Demons 3 is a whole other ball game. The Ogre aka Demons III: The Ogre, The Ogre: Demons 3, or House of the Ogre from 1988 is a sequel in name only. Sure Lamberto Bava may be back at the helm, Sacchetti may be writing along side him, but I can assure you that Demons 3 has lost that lovin’ feeling. That’s not to say the movie is wholly unenjoyable. Fans of Italian Horror will be amused at this made for TV feature that shows up at the end of the Brivido Giallo TV series. They don’t call it an “unofficial” sequel for nothing. The score is completely gone. This is not a sequel, but I’m glad the name got me to watch the movie. Viva Bava (either one)!
The Church aka Cathedral of Demons or The Demon Cathedral on the other hand is considered to be the heir apparent to Demons 2 and even had the “Dario Argento Presents” tag to back it up. Sacchetti is writing and Michele Soavi, who made an appearance in the first Demons film, is behind the lens to bring us this truly unconnected film. That does not mean that The Church isn’t a truly fun film in its own right with one of the great medieval, witch hunt sequences I’ve ever had the pleasure of enjoying. The cast is different save for the return of Asia Argento who was featured in Demons 2. The Church also stars veteran Italian Horror man, Giovanni Lombardo Radice. Demons 2 was scored by Claudio Simonetti of Goblin and Goblin returns alongside Keith Emerson, Philip Glass and Fabio Pignatelli. Saovi has disregarded and disavowed the claim that The Church belongs in the Demons series, and the movie doesn’t exactly feel like a Demons film, but you’ll want to enjoy it just the same. The alternate titles seems to be a play on the famous tag line from the first film, “They will make cemeteries their cathedrals and the cities your tombs”.
I only watched it this year for the first time and while I found it a bit slow through the middle the opening and closing are definitely worth the watch.
That brings us to Black Demons aka Demons 3 as produced by horror maestro Umberto Lenzi. While the name was original entitled Demons 3, this is far from a Demons film perhaps even further removed than both The Ogre and The Church. There is simply no commonality of plot, actors, filmmakers or scoring. This is purely a revenge of the living dead film. It’s Lenzi circa 1991 on the edge of the collapse of the Italian golden age. Some would say that Rome had fallen a second time.
Troll 2 and Troll 3
My man Claudio Fragasso directed Troll 2. When I type those words I feel just absolutely as strange as can be mostly because the first Troll is a staple of my childhood. Michael Moriarty dancing around to Summertime Blues. Fairy kingdoms created from the carcasses of people enchanted by a somewhat loveable but mostly wretched troll who assumes the form a little girl to take over a building and… THE WORLD. Music so powerful it should be used for every house on the block during Halloween. Fragrasso himself feels like an unlikely candidate to direct this puppy. When your previous work includes Monster Dog, Zombie 3 (see Zombie sequels in this article), Zombie 4 (the tale continues), Rats Night of Terror and, even though uncredited, Hell of the Living Dead, you can barely fathom how one comes to direct Troll 2 (under the pseudonym of Drake Floyd).
Is it the Best Worst Movie as the documentary of the same name states? Ya know, it’s pretty close. It’s absolutely worth watching for the abundance of strange green shit, popcorn sex and absolute terrible acting. In other words, Fragasso’s finest hour… probably not Troll 2. You need to watch this one and absorb it and imbibe alcohol and then watch Best Worst Movie and laugh some more and realize what you’ve just watched. It’s a sequel in that it incorporates some similar elements to the original picture, but it goes completely off the deep end and sacrifices acting and amazing effects for… everything. When you look at what spectacular 80’s effects man, John Carl Buechler, could do with a now cult classic, Troll, and then apply the same formula to its sequel with an modestly experienced filmmaker at the helm, you realize that perhaps the only thing driving Troll 2 was yet another way to make up for Zombie 3’s budgetary hardships.
As for Troll 3, I remember it as the video store as The Crawlers, but it’s also known as Contamination .7 and about to be released by Scream Factory. Joe D’Amato puts out an obvious cash grab that has no relation to the original movie or the sequel. I recommend picking up the cheap 4 pack from Scream Factory or the VHS of The Crawlers and enjoying the best part of the movie… the cover art. Feel free to send us your fan made Troll 3 posters featuring the title Troll 3.
Inferno and Mother of Tears
I won’t elaborate too much on Inferno because Christine Hadden of Fascination with Fear is tackling this one for Italian Horror Week, but considering that this is planned follow up to Suspiria that is the second part in the Three Mothers Trilogy you’re going to have a cohesive story that has connections to its predecessor. This wasn’t a cash grab to make a sequel. It’s a brilliant movie in its own right and could stand alone just as well as it stands within the scope of the trilogy. Matar Tenebrarum lives!
Mother of Tears is the third movie in the trilogy following Suspiria and Inferno. While Suspiria is considered a breakout success, Inferno is more of a sleeper that is well loved by fans and critics but does not get the wide recognition that Suspiria received. Mother of Tears is the finish to the series and pretty much drops the ball in much the same way that most later Argento films take a nose dive. I’d love to say that this is fitting conclusion to the awe inspiring color wheel and slow build terror romp of the first two films but it just feels like a mess trying to tie in a few loose ends. This is even true when you look at the talent involved including Udo Kier, Daria Nicolodi and Asia Argento. Now if not for the the connection to the two previous works in the “adaptation” of Thomas de Quincey’s Suspiria de Profundis I think we would be chocking this right up there with The Card Player and The Stendhal Syndrome (Syndrome still burns me having waited for a VHS release that I could watch for YEARS). Mother of Tears is a movie I would like to watch again and reflect on Argento’s later work. I want to understand how the master changed his style or lost his budgets or created works that truly didn’t hold the viewer in suspense but rather kept the viewer there by force, in the seat, writhing. Someday. Just not this year.
Zombie aka Zombi 2 and Zombi 4 and Zombie 5
What a tale we have to tell here in the battle for Italian sequels. It’s a convoluted mess really that has no end and a very strange beginning. The whole thing starts in America with a sequel itself. Dawn of the Dead. George Romero teams up with producer Dario Argento to create a movie, Romero’s vision of the end of times and the sequel to the cult classic, midnight movie, Night of the Living Dead. Romero gets the rights to shoot what he wants and to release the movie how he would like in America. Argento gets the rights to Italy and can edit the film for the Euro audience. Two different movies come out of this process with the same fundamentals. One is cut for the American audience and has humor and a score full of library music mixed with the music of Goblin. The other is a movie called Zombi. This is Argento’s cut of Dawn of the Dead, released in Italy and featuring the music of Goblin (The Goblins) and with most of the humor cut out. Essentially a pure horror film, less social commentary and built for the Italian/Euro audience. This is where the tangents diverge. It’s getting heavy Doc Brown. Let’s follow Argento straight to Fulci.
Lucio Fulci’s 1979 Zombie aka Zombi 2 aka Zombie Flesh Eaters is not a true sequel to the Romero/Argento collaboration of the year prior but rather a capitalization the success of Dawn of the Dead. It’s blatant, but it’s also an incredibly unique take on the zombie films that would eventually rise straight out of Italy and take a bite out of the world. Zombi 2 starts in New York as so many cannibal films would before it and then ends up on the islands. In between a zombie meets a shark, a doctor performs experiments and the dead walk the GWB. It was a powerful moment for Italian Horror, sequel or not. This flick seems to be taking pop culture by storm in 2012-13 featured in Warm Bodies as a Blu-ray disc from Blue Underground that is flashed in front of the screen and in This is the End this past June on a Fright Rags t-shirt featuring the epic Zombie vs. Shark sequence. What may have started as a modest cash grab turned into a powerful image of zombie Hell on earth. One of my personal favorite Video Nasties.
And that would be where the story ends… if we didn’t have a Zombi 3. Released in 1988, Zombi 3 is another unofficial sequel to Dawn of the Dead. The plot has no continuity between Zombi 2 and does not truly attach itself to Dawn of the Dead, but could be seen as a cash grab for the breakout hit, Return of the Living Dead. Fulci and Bruno Mattei helm this beginning of the end for the Zombi series though Fulci really didn’t work on it all that much according to most accounts. Claudio Fragasso also helped fix this one up late in the game. Zombi 3 is also known as Zombie Flesh Eaters 2 (as it is a sequel to Zombie Flesh Eaters).
Zombi 4 aka Zombi 4: After Death aka After Death aka Zombie Flesh Eaters 3 is a more direct follow, sequel to Zombi 3 but still is not a true sequel to the original Zombi or even Zombi 2 despite the name. Fragasso is now at the helm of this picture and stars Jeff Stryker, the famous porn star not porning it up. Zombi 4 is scene mostly as a cash grab; an attempt to win back some of the money lost by Zombi 3. Black magic… voodoo curses… we have come a long way from Romero. Just wait to see where it goes next.
Zombi 5 is directed by this guy: Claudio Lattanzi. Lattanzi worked on Stage Fright and The Church but just barely. Let’s face it. He made Zombi 5 aka Zombi 5: Killing Birds aka Killing Birds and created a monster dud. Let’s take a movie about birds that peck your eyes out then throw zombies in to play on the subgenre that Italians do best. Great job. Joe D’Amato produces this stinker and the reason you watch it is to see how bad the series had become no matter how unofficial it may have been. 1988 was a bad year for Italian zombie fare.
Cannibal Holocaust II… all of them!
How exactly do you follow up the most shocking film of all time? I mean, at least by some standards. Cannibal Holocaust is brutal and gory and animals friggin’ die and people run around naked, impaled on pikes, sexually assaulted, eaten and moral questions raised. No movie can adequately follow it. I suppose that’s why no true sequel was made. Deodato had no part in any of the name only “sequels”. Let’s talk about a few of them.
The Catherine Miles Story aka Amazonia aka Cannibal Holocaust 2: The Catherine Miles Story aka White Slave is one just name only sequel. In fact, it’s really only known as Cannibal Holocaust II in Europe because everywhere else it carries the alternate title. One boarding house school girls goes into the wilderness and somehow we’re comparing a movie of little value that points to the decline of the cannibal genre to the classic, ultimate cannibal film. I recommend viewing all cannibal films because you absolutely need to see the crime against film that were perpetrated in the 80’s in Italy to understand how the Italian Horror industry crashed, burned and ran straight out of money. Mario Gariazzo is behind the camera and I would say I know him from Play Motel alone though I am familiar with Enter the Devil and Very Close Encounters of the Fourth Kind (that’s right.. you read that).
Natura Contro aka Green Inferno aka Cannibal Holocaust II is another cash grab (see a trend developing here). It is a pale imitation of a cannibal movie though at least there’s some animal deaths and shady gold prospectors to keep you entertained through the bastardization. I was first drawn to this movie during my study of all the movies in the Italian cannibal cycle, mostly due to the strange, lighthearted adventure cover that might as well have doubled for a children’s adventure film. Plenty to enjoy but Antonio Climati should have stuck with mondo movies. He’s the fella who gave us Mondo Cane, Africa Adio, Goodbye Uncle Tom… the classics. I love his early work and he even went on to do Nightmare Beach after doing this piece of trash. Let’s all get excited for Eli Roth’s new film Green Inferno and only remember as fans of a controversial subgenre that this film even exists.
Mondo Cannibal/ Cannibal World (2003) aka The Real Cannibal Holocaust, aka Cannibal Holocaust 2 from Bruno Mattei, under the name Vincent Dawn, is a movie that I may never have seen which is to say that it is modestly forgettable at best. I’ve heard it described as a near complete rip off of Cannibal Holocaust proper. I’ll try to remedy not having seen this revision to the Cannibal Holocaust sequel/remake series shortly. In addition there have been several Japanese films supposedly labeled as sequels to Cannibal Holocaust. Obviously, none of these were official.
Deodato himself has suggested that he’s ready to make Cannibal Holocaust II now that the Splat Packer Eli Roth has been successful with Hostel and appearing in Hostel II. This would be something to see indeed. Perhaps the Green Inferno that Eli Roth is creating is more Cannibal Holocaust II under a different name. Wouldn’t be the first time. Check out this brief excerpt about the discussion.
Beyond the Door 2 aka Shock and Beyond the Door 3
Beyond the Door was a fantastic Exorcist rip off. I love that movie. I love the first sequel even more than original. I suppose this would mean comparing Ovidio G. Assonitis to the great Italian filmmaker Mario Bava. Assonitis’ work has a few impressive bumps in the road i.e The Curse, The Visitor and Tentacles (let’s not speak of Piranha II). Bava on the other hand is seen as the premier horror director from Italy. He got the whole crazy thing started with movies like Black Sunday, Blood and Black Lace, Bay of Blood and Hatchet for the Honeymoon. It’s really like comparing Spider Ricco to Rocky. We will stop there. What Beyond the Door 2 aka Shock brings to the table is a completely strange story of possession and the supernatural full of some great acting and some terrible acting balanced so precariously that one might wonder when the whole thing would fall apart. It doesn’t and the audience can enjoy a fun horror ride into the land of ghosts.
Now this isn’t the Bava we had come to love in the 60’s, making films that were subtle and slow burn with great big set pieces and fiery overdramatic actors. This is more subtle. More B movie. This is the latter day work of a legend. It is not a true sequel but sequel in name only. More often than not this film is truly referred to as Shock anyway so you’d barely know it was as a sequel. It’s to be enjoyed, the ending is classic and the music is absolute worth picking up if you get the chance. Calling this Beyond the Door II was probably just a great way to put asses in the seats in the U.S.
Beyond the Door 3… is not a true sequel to Beyond the Door. It is, however, fantastic under and readily available (even on Netflix Instant at one point). Also known as Death Train, Beyond the Door 3 is a wild romp of a movie featuring a train that is quite haunted or possessed or something because the train takes them on all sorts of strange adventures to their demise. This is somewhat humorous, bad effect driven and overall a great way to spend a Friday night with Pizza… even though it has nothing to do with the previous installments save that it shares a director with a previous installment, the return of Ovidio G. Assonitis.
The Emmanuelle Series
While I may not have seen them all, I can tell you that this series is more like episodic porno television with its eyes on spilling flesh, tastefully and not so tastefully across the screen rather than being concerned with providing a cohesive thread between all the films that bare HER name. Buyer beware when you start exploring this series. Some of it is pure 70’s gold with firm studio backing and the production value you’ve come to love from features during this period. I think of the first is Emmanuelle and the Last Cannibals. It’s a Joe D’Amato picture which as we roll through our week will mean you’re looking for a “a balance” between eroticism and gory exploitation awesome. You won’t always achieve said balance, but in this particular picture of the cannibal cycle, I am a happy man. It is a sequel in name only, but not so far derived from the original source work that you would call it a scam. Emanuelle’s Revenge in 1975, Emanuelle in Bangkok in 1976, Emanuelle in America in 1977, Emanuelle Around the Word in 1977. All sequels based around the basic tenants of the original source work that would be elaborated on by D’Amato, but truly started in the hands of the French in 1974. The two series would run in tandem through out the 70’s until the Italian series gave up in 1978.
I want to provide you a list of the entire series as offered up by Wikipedia (the most trust name in filmographies I realize). This is just to give you a flavor for the longevity of the series which generally focuses more around a character and skin than true plot continuity. Continuity… what’s that?
Emmanuelle series (France) 
- Emmanuelle (1974)
- Emmanuelle 2 (1975)
- Goodbye Emmanuelle (1977)
- Emmanuelle 4 (1984)
- Emmanuelle 5 (1986)
- Emmanuelle 6 (1988)
- Emmanuelle 7 (1992)
Black Emanuelle films (Italy) 
- Black Emanuelle, Emanuelle in Africa (1975)
- Black Emanuelle 2 (1976)
- Emanuelle in Bangkok (1976)
- Emanuelle in America (1977)
- Emanuelle Around the World (1977)
- Emanuelle and the Last Cannibals (1977)
- Emanuelle and the White Slave Trade (1978)
Emmanuelle made-for-TV films (France) 
- Emmanuelle's Secret (1992)
- Emmanuelle's Revenge (1992)
- Emmanuelle's Perfume (1992)
- Emmanuelle's Magic (1992)
- Emmanuelle's Love (1993)
- Emmanuelle in Venice (1993)
- Emmanuelle Forever (1993)
Emmanuelle in Space series (USA) 
- Emmanuelle: First Contact (1994)
- Emmanuelle 2: A World of Desire (1994)
- Emmanuelle 3: A Lesson in Love (1994)
- Emmanuelle 4: Concealed Fantasy (1994)
- Emmanuelle 5: A Time to Dream (1994)
- Emmanuelle 6: One Final Fling (1994)
- Emmanuelle 7: The Meaning of Love (1994)
Emmanuelle made-for-TV films (USA) 
- Emmanuelle 2000: Being Emmanuelle (2000)
- Emmanuelle 2000: Emmanuelle and the Art of Love (2000)
- Emmanuelle 2000: Emmanuelle in Paradise (2000)
- Emmanuelle 2000: Jewel of Emmanuelle (2000)
- Emmanuelle 2000: Intimate Encounters (2000)
- Emmanuelle 2000: Emmanuelle's Sensual Pleasure (2000)
- Emmanuelle 2000 (2001)
- Emmanuelle 2000 Emmanuelle Pie (2002)
- Emmanuelle in Rio (2003)
- Emmanuelle Private Collection: Emmanuelle vs. Dracula (2004)
- Emmanuelle Private Collection: Sex Talk (2004)
- Emmanuelle Private Collection: The Sex Lives of Ghosts (2004)
- Emmanuelle Private Collection: Sexual Spells (2004)
- Emmanuelle Private Collection: The Art of Ecstasy (2006)
- Emmanuelle Private Collection: Jesse's Secrets Desires (2006)
- Emmanuelle Tango (2006)
- Emmanuelle Through Time: Emmanuelle's Skin City (2011)
- Emmanuelle Through Time: Emmanuelle's Sexy Bite (2011)
- Emmanuelle Through Time: Sex, Chocolate & Emmanuelle (2011)
- Emmanuelle Through Time: Rod Steele 0014 & Naked Agent 0069 (2011)
- Emmanuelle Through Time: Emmanuelle's Supernatural Activities (2011)
- Emmanuelle Through Time: Emmanuelle's Sex Tales (2011)
- Emmanuelle Through Time: Emmanuelle's Forbidden Pleasures (2011)
Other related films 
- Io, Emmanuelle (1969), directed by Cesare Canevari.
- Swap Meat at the Love Market (Emanuelle Meets the Wife Swappers,Liebesmarkt,1973), directed by Hubert Frank.
- Amore libero - Free Love (The Real Emanuelle, 1973), directed by Pier Ludovico Pavoni.
- Tender and Perverse Emanuelle, 1973, directed by Jess Franco.
- Lust and Desire (I desideri di Emanuelle, Le désir et la volupté , 1973), directed by Lucien Duval.
- Emanuelle's Revenge (1975), directed by Joe D'Amato.
- Hot Acts of Love (Le calde labbra di Emanuelle, Body Games, L'amour aux trousses, 1975) directed by Jean-Marie Pallardy
- La Marge (1976) (also released as Emmanuelle 77), directed by Walerian Borowczyk.
- Laure (1976) (also released as Forever Emmanuelle), directed by Emmanuelle Arsan.
- Néa (1976) (also released as A Young Emmanuelle), directed by Nelly Kaplan.
- Annie (Teenage Emanuelle, La fine dell'innocenza, 1976, directed by Massimo Dallamano
- Emmanuelle on Taboo Island (La Spiaggia del desiderio, 1976), directed by Enzo D'Ambrosio & Humberto Morales.
- Black Emmanuelle, White Emmanuelle (Velluto nero,Emanuelle in Egypt 1976), directed by Brunello Rondi.
- Emmanuelle in Tokyo, Wild Emmanuelle, 1976) directed by Akira Kato.
- Emanuelle:Black and White (Black Emanuelle, White Emmanuelle, Passion Plantation, 1976), directed by Mario Pinzauti.
- Yellow Emanuelle (Il Mondo dei sensi di Emy Wong 1977), directed by Bitto Albertini.
- Sister Emanuelle (1977), directed by Giuseppe Vari.
- Vanessa (1977), directed by Hubert Frank.
- Hong Kong Emmanuelle (1977) directed by Wah Man.
- Blonde Emanuelle 3-D (Disco Dolls in Hot Skin, 1977), directed by Stephen Gibson
- Felicity (1978), directed by John D. Lamond.
- Fury (La mujer de la tierra caliente, Musta Emanuelle - kuuman maan nainen, 1978) directed by José María Forqué
- Emanuelle Tropical (1978) directed by J. Marreco
- Emanuelle and Lolita (1978), directed by Henri Sala
- Emanuelle and the Erotic Nights (Emanuelle e le porno notti nel mondo n. 2, 1978), directed Bruno Mattei/Joe D'Amato.
- Emanuelle y Carol (1978), directed by Ignacio F. Iquino.
- Carry on Emmanuelle (1978) directed by Gerald Thomas.
- Emanuelle in the Country (L'Infermiera di campagna, 1978), directed by Mario Bianchi.
- Emanuelle: Queen of Sados (I mavri Emmanouella, Emanuelle's Daughter 1979), directed by Elia Milonakos.
- Emmanuelle & Joanna (Il mondo porno di due sorelle,1979), directed by Franco Rossetti.
- Emanuele 3: An Erotic Journal of a Lady From Thailand (Le journal érotique d'une Thailandaise, 1980), directed by Jean-Marie Pallardy.
- Emanuelle Goes To Cannes, 1980, directed by Jean-Marie Pallardy.
- Divine Emanuelle (Die Todesgöttin des Liebescamps, Love Camp 1981), directed by Christian Anders.
- Emmanuelle in Soho (1981), directed by David Hughes
- Inconfessable Orgies of Emmanuelle (1982), directed by Jess Franco.
- Kung Fu Emanuelle (1982) directed by John Liu.
- Emanuelle: Queen of the Desert (La Belva dalle calda pelle, 1982), directed by Bruno Fontana.
- Violence in a Women's Prison/Emanuelle Reports from a Women's Prison (Violenza in un carcere femminile, 1982), directed by Bruno Mattei.
- Emanuelle Escapes from Hell (Emanuelle fuga dall'inferno, 1983), directed by Bruno Mattei.
- Voglia di guardare (Skandalöse Emanuelle - Die Lust am Zuschauen, 1986), directed by Joe D'Amato.
- Lady Emanuelle (Tradita a morte, 1989, directed by Pasquale Fanetti
- Emmanuelle: A Hard Look (2000), documentary about the Emmanuelle film series.
- Joe Emanuelle: Confessioni di Joe Orso Regina Pageant, (Bear Chicka Wow-Wow: Deep Inside the Nites & Days of an Average Sexpot Danger Bear 2014) directed by Digg Dgravenszein.
Addendum from one of our amazing DOCTERROR.COM readers, Dakota Madrox Drobnicki. Thanks Dakota for being an amazing Italian Horror Fan! Dakota has written for Rosso Sangue Reviews HERE and designed the poster for the film The Herbt from director, Al Festa.
I would love to provide a list that provides more examples of illegitimate Italian sequels:
Mario Landi's PATRICK VIVE ANCORA (1980), an illegitimate sequel to Richard Franklin's PATRICK (1978), and registers higher in the gore and sleaze meters. What else would you expect from the director of GIALLO A VENEZIA (1979)?
Ciro Ippolito's ALIEN 2: ON EARTH (1980), made in the same year as Luigi Cozzi's similar and more well-known film CONTAMINATION, a cheesier take on the "aliens arrive on Earth" plot hinted at in the infamous ALIEN 3 (1992) teaser trailer which was also a precursor of sorts to THE DESCENT (2006).
Bruno Mattei's SHOCKING DARK (1990), his last collaboration with the legendary Claudio Fragasso, was released in Italy as TERMINATOR 2, one year before the actual T2 made its debut. Ironically, the movie mostly rips off ALIENS (1986), leaving its TERMINATOR ripoff scenes closer to the end of the film. Mattei would later go on to direct CRUEL JAWS (1995), which would see release in some territories as JAWS 5. (In the early 90s, Mattei also began work on an unofficial ALIEN 3, which either never saw the light of day or was never released under that title.)
Claudio Fragasso's film NIGHTKILLER (1990) was released in Italy as NON APRITE QUELLA PORTA 3. In Italy, NON APRITE QUELLA PORTA is actually the TEXAS CHAINSAW MASSACRE series. It'll be your call as to whether or not the film is superior to the actual TCM3.
In the US, Aldo Lado's infamous video nasty NIGHT TRAIN MURDERS (1975) saw release after release under various titles, most of which advertised it as a LAST HOUSE ON THE LEFT sequel. These titles included THE NEW HOUSE ON THE LEFT, THE SECOND HOUSE ON THE LEFT, and of course, LAST HOUSE: PART II.
Dario Argento's classic DEEP RED (1975) was released in Japan under the title SUSPIRIA 2, while Al Festa's FATAL FRAMES (1996) was similarly released under the title SUSPIRIA 2000.
Sure, there may be three movies considered to be DEMONS 3 in different territories, but in Japan, the DEMONS series went on to have SIX installments! Michele Soavi's THE SECT (1991), Lamberto Bava's made-for-TV LA MASCHERA DEL DEMONIO (1989), and Luigi Cozzi's unofficial third chapter of the Three Mothers trilogy DE PROFUNDIS (1989) were released as DEMONS 4, 5, and 6 respectively.
Before ARMY OF DARKNESS became the official third chapter in the EVIL DEAD franchise, Italians were hungry for more of the series, known in Italy as LA CASA. Therefore, Umberto Lenzi's GHOSTHOUSE (1988), Fabrizio Laurenti's WITCHERY (1988) and Claudio Fragasso's BEYOND DARKNESS (1989) were released there as LA CASA 3, 4 and 5.