Satanik

You've got to feel a little sorry for Marnie Bannister, a lab worker in Madrid, at the beginning of "Satanik." So hideously scarred--no, we never find out how she got that way--that she makes the Vina character in "Star Trek"'s "The Menagerie" episode look good, life certainly does not hold much promise for her. Until, that is, the day when she swallows an experimental cell rejuvenation serum, and morphs into a hotty that few men seem able to resist. Too bad that her homicidal tendencies don't change with her improved looks, however... "Satanik," I must say, is an interesting experience. A joint Italian/Spanish production, shot in Madrid and Geneva, it boasts some nice European settings and an engaging story. Lead actress Magda Konopka is as sexy as can be, particularly during two striptease scenes; it's difficult to believe that the scarred Marnie is played by the same woman (I'm assuming that she is). Perhaps the single best aspect of "Satanik," though, is its chic, jazzy score; what a terrific soundtrack CD this would make! Unfortunately, the Retromedia DVD presentation here is something of a mess. The full-screen image is quite grainy, and a good deal of the picture seems to be missing at times. The film has been horribly dubbed, as well; subtitles would have been infinitely preferable. The excellent reference book "DVD Delirium 2" claims that this "Satanik" DVD is an improvement over the VHS incarnation, but it still looked pretty crummy to me. And yet, as I said, the movie is pretty interesting, and briskly paced as it is, flies by pretty quickly. It's no Mario Bava picture, but still, I don't regret having rented this one out....

The level of success of SATANIK as a film is entirely dependant upon the audience viewing it. An audience expecting something along the lines of OPERAZIONE PAURA or CASTLE OF BLOOD will be disappointed. This isn't a horror film. Even an audience expecting a giallo in the Argento / Fulci tradition is bound to be dissatisfied by the lack of creative violence and relatively mild gore. In 1968 the target audience for this film were the readers of the hugely successful fumetti neri that had already led to popular cinematic spin-offs of DIABOLIK and KRIMINAL. When viewed in this light, SATANIK becomes a much more successful, though no better, film.

In most respects the film is fairly faithful to its literary origins. Marny Bannister, a brilliant but horribly disfigured scientist, ingests a chemical formula that transforms her into a beautiful, but soulless, homicidal femme fatal. Though the base premise relies upon science fiction rudiments, the stories in the original comics tended more towards the Rialto Edgar Wallace krimis than any genre effort by Antonio Margheriti. Horror elements did crop up in the comic, notably the Dorian Gray like character Alex Bey and Satanik's long running battle with the vampire, Count Wurdalak, but such fantastical story lines were interspaced with more conventional crime thrillers. It is from the latter that SATANIK the film takes its inspiration.

It is easy to dismiss the movie as Dr. Jekyll and Mr. Hyde done up as a travelogue, but it is unlikely that film audiences familiar with the comic original would have been disappointed. In terms of plot all the fundamentals have been transferred from the comic into the screenplay, with some scenes lifted almost verbatim. The casting of the central role is excellent. The beautiful Magda Konopka displays both the proper malicious delight in her newfound beauty and callous disregard for her pawns and victims and even very much resembles her comic book counterpart. Where the film falls short is in structure, directorial ambition, and resolution.

Other than the avaricious desires of our central character, there really is no central narrative to the film. To its detriment, it is more a series of episodes, strung loosely together. While the same criticism could be easily leveled against the film version of DIABOLIK, that film enjoyed superior pacing and visual interest thanks to the brilliance of director Mario Bava. Indeed Bava could have done much for SATANIK as the direction of Piero Vivarelli is only workmanlike throughout, lacking in ambition and dynamism. The most blatant weakness of the film is its final few minutes. The ending of the film seems hurried, hackneyed and uninspired, owing more to a bland requirement to see justice done at the end then to provide a satisfying conclusion. Something akin to the last moments of SILENCE OF THE LAMBS or the original HALLOWEEN would have been far more effective.

This film is available on DVD in North America in an unspectacular, cropped 4:3 English dubbed release. A superior widescreen DVD release is currently available in Europe, with the original Italian audio track. The Italian DVD has no English audio or subtitles.

Historical Note: SATANIK is closely adapted from the Italian comic series created in 1964 by writer Max Bunker and artist Magnus (pseudonym of Roberto Raviola). In the same year the pair also created the character "Kriminal" whose modus operandi and skull and bones costume were usurped by the character "Killing" two years later. When the fumetti Killing stories were reprinted in France the character was renamed "Satanik" and eventually "Sadistik" in America. This character was brought to film as "Kilink" in a series of productions from Turkey. The original Satanik series was renamed "Demoniak" when reprinted in France, so as not to be confused with the already existing "Satanik" title. And of course an entirely different character called "Demoniak" already exited in Italy.

Many of the other reviewers cite the suspect quality of this release on Retromedia. I just purchased this title from Sinister Cinema and the print quality is very good. The color is not as vivid as one would prefer but is not washed out in the least. Considering the movie is almost 40 years old the color of the print is really quite fine. The print has no jump cuts or jarring splices, the audio and video are in perfect sync and the print runs a full 84 minutes.My rating is specifically for overall print quality. As with most other reviewers, I found the movie a bit tedious but I'm glad that I watched it and own a copy. Kudos to Sinister Cinema as they are a consistent class act in regards to making hard to find titles available in the best possible presentation. Their Krimi releases are especially outstanding!

Greetings And Salutations, and welcome to my review of Satanik; here's the breakdown of my ratings:

Story: 0.50 Direction: 0.75 Pace: 0.75 Acting: 0.75 Enjoyment: 0.75

TOTAL: 4.00 out of 10.00

The primary element that ruins Satanik is the story - or the lack of one. There's little a director could do when the narrative was defunct. Nowadays, he trusts the CGI Director and their artists to fill in with overly-long eye candy fight sequences, like Justice League. However, in the sixties, all they could turn to was stock footage for stuffing, and that usually had to follow the storyline.

The concept is a passable one. An elderly scientist who has been visibly scared by life is offered a second chance at youth and beauty. One of her colleagues has been working on a fountain of youth serum. However, he's not ready for human trials though it works on the captive animals. There is one flaw. The mutated animals are not merely changed visually; they're mentally altered - they become aggressively violent. Dr Marnie Bannister cannot wait for her fellow researcher to change his mind, so she decides to take matters into her own hands. She kills him and goes all Dr Jeckyll and Mr Hyde. The grim turn of events should have given the writer carte blanche to deliver a dark and moody thriller. Sadly, the writer was lacking in imagination and skill. From the moment Dr Bannister awakens as the glamourpuss Satinik the story takes a steep nosedive into insipidity. Five minutes later, my attention shifted from the youthful reincarnation to other things. I'm unsure if Satanik is a dark force that does good or evil. That is how poor the story is. Even when the writer introduces the drug dealers and Satanik's infiltration of the gang, it's ambiguous as to what her goals are. Is she trying to stop them or trying to take over the business?

The direction is only slightly better. Regrettably, Piero Vivarelli isn't a maestro behind the camera. His cinematography borders on the mundane. Luckily for the audience, he does throw in a few semi-decent compositions. But as one reviewer states, when the action shifts to Geneva, we get a lot of "Holiday" footage showing how beautiful the city is, but nothing of import to the story.

The cast is abysmal, though that could come down to the direction. Magda Konopka is better and more credible as Dr Bannister than she is as Satanik. Satanik is a beautiful but blank individual with next to no personality, whereas Bannister is anxious and worried because she killed Professor Greaves.

I'd advise everyone to stay away from this poor excuse of a story. There are many better and more entertaining thrillers out there. But should you have watched them all, I suggest picking up a book and having a gander at the printed page instead of watching Satanik.

When the kick from the Serum Of Youth wears off, please visit my Killer Thriller Chillers and The Final Frontier lists to see where I ranked Satanik.

Take Care & Stay Well.

There are a lot of misconceptions about this film due to various marketing facts. In a nutshell, Satanik (the title card in the film gives it as "Satanic") is the story of Dr. Marnie Bannister (Magda Konopka), who takes drastic measures to try to get rid of her disfiguring scars. She's pursued as a criminal, and the film is basically an extended cat and mouse game. The cats never get too close until the end, and the film also indulges in various modes that were somewhat stereotypical at the time, including nightclub scenes (some with go-go dancing), playboy/playgirl "romance" subplots (complete with a small amount of gratuitous nudity), and a slight travelogue feel. But at its heart, this is simply a crime/thriller with elements of the police procedural, mystery and sci-fi genres present and a heavy late 1960s/early 1970s vibe. Even though there is a very broad expanse of gray on the border between thrillers and horror films, calling Satanik horror is a stretch that results in breakage.

It's not exactly easy to find the relevant background information, but the story seems to be taken from a couple different, perhaps interconnected, sources. In 1964, Italian comic book author Max Bunker (a pseudonym for Luciano Secchi) began a series that initially was called "Killing", although "Satanik" appears as a subtitle on some, if not all of the books, which eventually ran to at least 300 issues. The series, one of many Italian comics ostensibly influenced by or based on the 1911 French comic, Fantômas, featured a male protagonist who would dress up like a skeleton. Later, there was also a French photography-oriented fictional magazine based on Satanik. In that version, Satanik's lover, Dana, appears to have been more heavily emphasized--probably because it allowed sexy photographs of women.

Italian director Piero Vivarelli, who later wrote a couple of the Emanuelle films, and producer/scriptwriter Eduardo Manzanos Brochero, took extreme liberties with their source material. There is no male protagonist, and no person dressing up like a skeleton to be found in the film. The consensus is that Satanik was made in the wake of Mario Bava's superb early 1968 film Diabolik (aka "Danger: Diabolik") as an attempt to cash in on its success and recapture its swanky vibe. The transformed Konopka bears some resemblance to Diabolik's Eva Kant (Marisa Mell), although unfortunately Satanik can't come near Diabolik in terms of visual excellence or plot momentum and suspense. Vivarelli and Brochero forgo Diabolik's trumping of James Bond for a grittier Dr. Jekyll and Mr. Hyde theme (which again, might make some viewers think along the lines of horror, but that's the wrong genre to file Satanik under).

There are a couple big flaws in Satanik. The first is that we never get to know any of these characters very well, including Dr. Bannister. What kind of doctor is she? What happened to her to disfigure her? There is also a significant lack of character building for the other principal roles--Inspector Trent (Julio Peña) and George Van Donan (Umberto Raho). Van Donan introduces us to a gangster subplot, but this is very inadequately developed. To make things worse, the pacing on a number of scenes is achingly slow--including scenes that we very well know how they'll end, like Dr. Bannister's early encounter with a fellow doctor doing regeneration research.

But there are pluses, too. The overall atmosphere is good if you're into genre films of the era and locale. Konopka can come across as very beautiful. The music is enjoyable, fits the atmosphere well, and even the fact that Brochero didn't spring for a full 90 minutes of score ends up helping, because the final effect suggests various musical leitmotifs that we periodically revisit. Most importantly, the story is often suspenseful, despite the lack of fully fleshed-out exposition, and it is almost always interesting, even when it's a bit slow.

Retromedia's DVD release of Satanik is unfortunately not in the correct aspect ratio, and like many of their releases, the print quality is a bit rough. There are a couple bad splices, and the color is not very vivid. Still, having a film like Satanik available on a less-than-perfect DVD is better than not having it at all. I'm sure it's not easy to track down pristine prints of these kinds of films, if indeed pristine prints exist. Retromedia is laudable for its efforts to re-release these lesser-known titles on modern media.