Kriminal

From the stylish comic book style credits at the beginning we know this is not to be taken too seriously and that a good time could be had. And indeed it is. Nothing too special but a slight story involving the theft of some jewels is much enlivened by Lenzi's enthusiastic direction. Everything, from the skeleton like costume the 'Kriminal' dons to the fine costumes worn by the great Helga Line (in a double role) and the wonderful London and Istanbul location photography, this keeps happily moving in its own colourful way from start to finish. So outlandish and likable in parts that this is laugh out loud funny at times and there is certainly never a dull moment as our dashing hero seduces, deduces, makes time for a little lovemaking and crucially when the situation demands, kills. All action, all smiles fantastically decorated 1966 minor gem from one of Italy's most able directors.

True to the comic, Obviously noir, The story is of a Robber "Kriminal", who dresses like a skeleton and goes out ot steal diamonds, etc... Being this is an Italian from the 60's, it's full of style, with a linear, and especially very, very very Smooth plotline. This movie is full of double crosses, and everything a typical spionage had back in the day. I recommend it

Umberto Lenzi is best known for his gory zombie flicks, Giallo's and Italian Cop movies; but there are a few gems from other genres dotted around his filmography, and Kriminal is definitely one of the best of them! The film is based on a comic book and follows the fortunes of a 'cartoon' criminal out to steal whatever he can. The obvious film to compare this to would be Mario Bava's pulp fiction thriller 'Diabolik', although this one is (slightly) more grounded in reality and while it doesn't have the comic book grandeur of Bava's later effort; all in all, I wouldn't hesitate to call Kriminal a better film. Glenn Saxson takes the lead role as 'Kriminal' - a notorious yet incognito thief who wears a skeleton suit and somehow manages to get the better of the police every time they try to stop him from stealing. The plot starts properly when an opportunity to steal a large amount of diamonds from a safe deposit box in Instanbul presents itself. Kriminal masterminds a plot to liberate the jewels; but first has to worm his way into several people's affections.

The film has a great comic book style and Umberto Lenzi effortlessly manages to give the film a real stylish verve that benefits the plot immensely. Glenn Saxson might not be a great actor, but he fits the bill as the title character and actually looks like he might be a drawing from a comic book himself! The film features Kriminal wearing a suit painted as a skeleton; although unfortunately this part of the film doesn't come off as being as cool as it could have been; but it does give the film an extra interesting element. There are plenty of characters to move the plot along, and while the plotting does get a little confusing at times; it's generally interesting enough. Lenzi manages some really beautiful locations and he definitely gets the best out of 'high society' in Istanbul. There are also a number of lovely ladies on display, which is always a bonus too! There's no real point to the film; but the ending is good enough and the film finishes in a 'fun' way. Overall, I'm not surprised that this isn't one of Lenzi's better known films - but it's certainly not a bad one and I highly recommend seeing it...if you can find it!

Fun caper which anticipated Mario Bava's DANGER: DIABOLIK (1968) - which I rewatched the very next day via Paramount's SE DVD - but isn't nearly as stylish! Glenn Saxson is a wooden lead (I should be watching him again soon in a Spaghetti Western, DJANGO SHOOTS FIRST [1966]), though Helga Line' - in a dual role! - is an attractive foil. Raymond Full's score is infectious and appropriately playful, while Angelo Lotti's pleasing cinematography takes in picture-postcard views of London, Madrid and Istanbul.

Still, even though Kriminal's skeletal costume may work on paper (the film originated as a comic-strip), it feels rather silly when displayed on the screen - and, ultimately, has been infrequently used! The film, however, creates some pretty exciting set-pieces (including the ruse of exchanged identity towards the end) and even concludes with a nice twist, opening the way for an eventual sequel - which arrived in the form of IL MARCHIO DI KRIMINAL (1968)...

Watchable entry in the super-criminal subgenre even if it is a far cry from Danger: Diabolik. This film begins with Kriminal escaping execution and quickly planning a diamond heist. Since the diamonds have already been stolen, Kriminal is essentially swindling criminals. This doesn't necessarily make him a good guy, what with trying to blow up his ex-wife who turned stool pigeon. Still, Kriminal has charm. . . and a nifty skeleton suit for nocturnal adventures. An all black suit might have been more practical for blending into the darkness but Kriminal is anything if stylish. The film itself could have used more style. Umberto Lenzi's direction is merely serviceable, lacking the thrills of some of the director's 70's crime movies. On the plus side, the film offers bright cinematography and appealing eye candy provided by Helga Line and Mary Arden (Blood and Black Lace).

Kriminal is not a film that stays long in the memory but offers a pleasant enough lazy afternoon viewing.