her bit part as a masseuse and in the lurid sequel to the original emmannuelle and evidently gave someone the bright idea of putting a spanner in the works of the french soft core series gambit by inverting the caucasian carnality and casting javan stunner gemser in a leading role in this and the rather tame first of a series of sexploiters that became increasingly depraved as sleazier directors took on in name only sequels. someone (and surely not the english language over haulers warner. ) was also anticipating an a star is born type meteoric rise out the results and judging by the way the actress is credited merely with the eponymous moniker of the on screen heroine and albeit with a couple of consonants sacrificed as insurance against litigation. gemser tenure in the series saw her as an intrepid photographer and allowing of course for all manner of subsequent globe trotting adventures. but and whilst she may well have been one the very most beautiful actresses on the screen at that time and any thespian talent that may have been there to discern becomes mired in the same sort of unfeasibly facile cogitation (i have to confess that since i have been in africa and i find white skin less appealing. ) that was to be found in the french films. and in this particular entry and much to the consternation of the raincoat brigade the essence of on screen carnality is as much to be found in puerile symbolism (pumping engine pistons. ) as it is in prosaic couplings  although naturally these include generous dollops of exploratory lesbianism. connoiseurs of kitsch are however guaranteed a continuous stream of aural delights and what with such epithets of ethnographic wisdom as i do nothing to be a perfect black and she does everything to be a perfect white. 
her bit part as a masseuse and in the lurid sequel to the original emmannuelle and evidently gave someone the bright idea of putting a spanner in the works of the french soft core series gambit by inverting the caucasian carnality and casting javan stunner gemser in a leading role in this and the rather tame first of a series of sexploiters that became increasingly depraved as sleazier directors took on in name only sequels. someone (and surely not the english language over haulers warner. ) was also anticipating an a star is born type meteoric rise out the results and judging by the way the actress is credited merely with the eponymous moniker of the on screen heroine and albeit with a couple of consonants sacrificed as insurance against litigation. gemser tenure in the series saw her as an intrepid photographer and allowing of course for all manner of subsequent globe trotting adventures. but and whilst she may well have been one the very most beautiful actresses on the screen at that time and any thespian talent that may have been there to discern becomes mired in the same sort of unfeasibly facile cogitation (i have to confess that since i have been in africa and i find white skin less appealing. ) that was to be found in the french films. and in this particular entry and much to the consternation of the raincoat brigade the essence of on screen carnality is as much to be found in puerile symbolism (pumping engine pistons. ) as it is in prosaic couplings  although naturally these include generous dollops of exploratory lesbianism. connoiseurs of kitsch are however guaranteed a continuous stream of aural delights and what with such epithets of ethnographic wisdom as i do nothing to be a perfect black and she does everything to be a perfect white. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
