Danger: Diabolik

 

(1968) Directed by Mario Bava; Written by Dino Maiuri, Brian Degas, Tudor Gates and Mario Bava; Based on the comic by Angela Giussani and Luciana Giussani; Starring: John Phillip Law, Marisa Mell, Michel Piccoli, Adolfo Celi, Claudio Gora and Terry Thomas; Available on Blu-ray and DVD 

Rating: **** 

Special thanks to Rebecca from Taking Up Room, for hosting the On the Spot Blogathon, an eclectic event dedicated to the first title participants can think of. So, what movie popped up in my head? Read on…

“San Francisco dropped you out of the medical register, but if you’re lying, I’ll drop you out of the human register.” – Ralph Valmont (Adolfo Celi)

Everyone remembers that annoying meme “You may be cool, but you’re not [fill in the blank] cool.” The thing is, I know I’m not cool, but Diabolik (John Phillip Law) is the textbook definition of cool. Starting in 1962, Diabolik appeared in an immensely popular fumetti neri (Italian “black comics”) series, created by two sisters, Angela and Luciana Giussani. An attempt was made to bring Diabolik to the big screen a few years before the 1968 version, with a different cast and crew, but it never materialized. Finally, under producer Dino De Laurentiis* and director Mario Bava, the titular character made it to the big screen as Danger: Diabolik (the word “Danger” was added to the title for the English language market). 

* Fun Fact #1: Although budgeted for $3 million, cost-conscious Bava finished the film for approximately $400,000.

In the opening scene, Diabolik (John Phillip Law),* our (anti)hero, pulls off a daring heist of $10 million in cash, much to the dismay of Inspector Ginko (Michel Piccoli). Diabolik hastily retreats, along with his shapely companion, Eva (Marisa Mell),**/*** to celebrate in his underground lair (by making love on a rotating bed covered in a heap of stolen cash). This is merely child’s play, however, for a master thief, as he sets his sights on a priceless emerald necklace owned by the wife of a British dignitary. As the authorities are thwarted at every turn by the elusive criminal, they resort to more unorthodox measures to bring Diabolik to justice. Knowing “It takes a thief to catch a thief,” the police enlist the aid of notorious crime boss Ralph Valmont (Adolfo Celi) to even the playing field. But for Diabolik, an even greater challenge lies ahead. 

* Fun Fact #2: Law was under contract from producer Dino de Laurentiis to appear in Barbarella. He was cast as the lead in Diabolik after producer Dino de Laurentiis brought the actor into Bava’s office.

** Fun Fact #3: Diabolik’s distinctive, face-conforming rubber mask was created by practical effects wizard Carlo Rambaldi.

*** Fun Fact #4: Catherine Deneuve was originally cast as Eva, but was replaced by Marisa Mell early in the production.

Diabolik, as portrayed by John Phillip Law, is almost a supernatural force, always one step ahead of the authorities, and impossible to contain – for long. Brazen, suave, and armed with a sly sense of humor, he flaunts his ability to give the cops the slip at every turn. Bava biographer Tim Lucas referred to Diabolik as a terrorist, but that doesn’t quite fit the character. If anything, he’s an anarchist, not aligned with any specific ideology or anyone but himself. We get the impression that while he enjoys the fruits of his labors, it’s the thrill of his dangerous endeavors, as well as his love for Eva, that keeps him going. Compared to Robin Hood, he doesn’t give directly to the poor, but I would opine that his undermining of the foundations of an oppressive government is his way of giving back to the common people. Besides, it’s tough to find sympathy for a government run by inept bureaucrats who couldn’t be trusted to find sand on a beach. His lover and partner in crime Eva is the yin to Diabolik’s yang.* Much more than a damsel in distress or a pretty accessory (like the dimwitted floosies that hang around with Valmont), she’s always there to get him out of a jam. Eva enjoys the chase nearly as much as he does, using her feminine wiles to manipulate naïve men. 

* Fun Fact #5: The filmmakers followed the comic’s color scheme, with black for Diabolik (including his Jaguar E-Type) and white for Eva (and matching car).

Husky actor Adolfo Celi is perfectly cast as Diabolik’s underworld rival, Ralph Valmont. He says everything with a sneer, barking orders to his underlings whom he regards as nothing more than a means to an end. He uses his private airplane to conduct meetings and conveniently drop his enemies out of a trapdoor.* When he kidnaps Eva as leverage to get what he wants from Diabolik, we just know his days are numbered.   

* Fun Fact #6: Bava used a G.I. Joe doll as a stand-in for the actor being dropped out of Valmont’s plane.

British comic actor Terry Thomas amuses as the bumbling Minister of Finance. In a scene that wouldn’t be out of place in the ‘60s Batman TV series, he holds a press conference, to discuss the government’s new hardline policies against criminals. Fortunately for our protagonists but unfortunately for the official, Diabolik and Eva are one step ahead, administering “exhilarating gas” to everyone (Good thing Diabolik happened to have his trusty “anti-exhilarating gas” capsules. No, really!). Predictably, the whole event turns into a circus, with everyone in the room, sans criminals, succumbing to fits of hysterics. After Diabolik bombs the government tax office, the beleaguered Minister of Finance holds another press conference, bemoaning the lost records, where he innocently appeals to the citizens’ honesty to send in the taxes they owe.  

While Diabolik has been compared to James Bond by some, he seems more closely aligned with the gentleman thief Lupin III. I can’t confirm that Hayao Miyazaki ever saw Bava’s film as inspiration for his Lupin III: The Castle of Cagliostro, but parallels with the two characters give one pause. A scene depicting Diabolik scaling a precarious castle wall with suction cups seems to mirror a similar sequence in Castle of Cagliostro (Perhaps it’s simply a case of great minds thinking alike?).

Ennio Morricone’s infectious score is a driving force in the movie, combining experimental electronic sounds, jazz riffs and electric guitar with more traditional instruments to create a breezy, fun-filled mood. Morricone’s score elevates the action scenes and enhances the more lighthearted sequences. I challenge you not to have the song “Deep Down” (sung by Maria Cristina Bancucci) rattling around inside your skull for days after watching this. 

* Not-So-Fun-Fact: According to Tim Lucas, Morricone’s stellar score was never released in any format, and the original tapes are now presumed lost.

While the cinematography is officially credited to Antonio Rinaldi, it’s widely accepted that the camerawork was done by Bava, himself. Bava also created the impressive matte paintings, including Diabolik’s futuristic underground complex, which still impresses today. Utilizing every camera trick in the book, Danger: Diabolik appears to be a much more expensive film. Instead of straying from the movie’s origins, Bava embraces them, replicating the comic book aesthetic at every turn.

When I think of a comic book movie, this fits the bill. Unlike many modern deconstructionist interpretations of the format, there’s no brooding superheroes or scenes so shadowy you’ll question whether you have cataracts. Danger: Diabolik proves that comic book films don’t always need to be Oscar bait to be a worthwhile viewing experience. Sometimes, it’s refreshing to watch a movie that knows what it is, and never takes itself too seriously (if a film could wink at the audience, this would be it). Danger: Diabolik is gleefully over the top from start to finish, reminding us how fun comic book films can be.

 

Source for this article: Blu-ray commentary by Tim Lucas