Danger: Diabolik!

I first saw 'Danger:Diabolik' on British television when I was 5 years old, peeking from behind the sofa when I was supposed to be in bed fast asleep. The next morning I thought the whole experience had been a vivid and bizarre dream. The film has fascinated me ever since.

Mario Bava's film is a hallucinatory, artistic, but undercooked and under-budgeted concoction which never quite coheres into the film we want it to be. 'Danger: Diabolik' nonetheless conjures up some masterful cult moments that richly reward the intrepid viewer who is willing to brave (and embrace) some ropey filler scenes and awful dubbing.

The magic of this film is sometimes missed by the casual viewer, and many of those who I have lent my copy to have simply stopped watching half way through, as the plot gets bogged down in the muddled, leaden Valmont scenes.

The magic of this film for me lies in this childhood connection that I have. Diabolik is indeed (as many viewers have pointed out) amoral and selfish. He kills people and lives only for his hedonistic indulgence. But this isn't really the point. Diabolik's greed is a metaphor of all our material greed and fantasies of self-indulgence [for more on this, see the definitive article on 'Danger:Diabolik' on the 'dvd savant' website] Diabolik, in all his piecing glances, hystrionic leaping, minimal dialogue, fetishistic costumes, and designer love parlours is very much like an irrational, inexplicable dream that we read our own meanings and desires into. Diabolik is a hypnotic, mysterious figure beyond judgement and law; he's not a real person in any way, and is not supposed to be one. His love for Eva is an erotic, wet dream and has nothing to do with anything except sensual pleasure and wish-fulfillment, and these scenes linger on as if the editor had forgotten to cut the film.

Bava denies us (or is perhaps incapable of constructing) a conventional, well-paced narrative, or a palatable, structured story. Instead he gives us a psychadelic reverie. A string of moments to enjoy and remember. Oh, and some really crap bits too, there's no denying!

DON'T WATCH THIS FILM IF YOU HAVE A SHORT, MTV ATTENTION SPAN OR NO APPRECIATION OF EURO-TRASH / PSYCHOTRONIC CINEMA.

I agree that 'Danger:Diabolik' isn't everything it could be, but it almost succeeds in achieving pop-art genius on several occasions. Definitely worth checking out. Just put your normal movie expectations aside for this one and you might love it!

If you are a big fan of 'Danger:Diabolik', or just feel like debating it, please feel free to email me!....

A quick glance at the user comments for 'Diabolik' will show that it is a movie which divides people to say the least. Some misguided fools and the asinine Mystery Science Theatre 3000 gang (who actually screened an edited version of the movie when they parodied it in their last episode) think it is one of the worst movies ever made. I pity them. The rest of us (including Mike Myers and The Beastie Boys - see their "Body Movin'" video for an affectionate homage) love it as one of the best examples of 1960s Pop Art kitsch. 'Modesty Blaise' was I think the first of the 60s European comic book adaptations in this style, followed closely by 'Barbarella' and then 'Diabolik'. Later in the early 70s there was 'Baba Yaga', the last gasp for this short lived genre. Too bad, because I just can't get enough of this stuff! 'Diabolik's director Mario Bava is a horror legend largely because of brilliant movies like 'Black Sunday' and 'Kill, Baby... Kill!' but he was in fact very versatile, not just making Gothic horror classics, but also science fiction, westerns, Hercules movies and hard boiled crime thrillers. And then there's 'Diabolik', something else again. John Phillip Law, who played the blind angel Pygar in 'Barbarella', as well as appearing in cult favourites like 'Death Rides A Horse' and 'Open Season', is perfectly cast as Diabolik. Many criticize Law's performance, which is admittedly pretty wooden, but I didn't have a problem with it. He suits the material, which let's face it, isn't exactly Shakespeare. Marisa Mell ('Mad Dog') plays Diabolik's beautiful partner in crime Eva Kant, Bunuel regular Michel Piccoli ('Belle De Jour', 'La Grande Bouffe') is Diabolik's nemesis Inspector Ginko, Adolfo Celi ('Thunderball', 'That Man From Rio') plays Valmont, a rival criminal mastermind, and Terry-Thomas ('I'm All Right Jack', The Abominable Dr Phibes') is the Minister Of Finance. Bava was working with quite a small budget (less than half a million US dollars - for comparison 'You Only Live Twice' cost nine MILLION more!) but achieved wonders, a testament to his skill and creativity. It's a very stylish movie with some wonderfully inventive visuals, especially Diabolik's cave which is very impressive considering the lack of money you'd generally expect for this kind of movie. Added to that a fantastic score from Morricone, which many fans believe is one of his very best, if not THE best. If you want to see one of the inspirations for the Austin Powers series, especially if you enjoy 60s pop culture, comic books, Pop Art, psychedelia, trash and the Bond and Flint movies then don't miss 'Diabolik'. The rest of you can wait until 'Bad Boys 3' or whatever drivel you think is a good, fun popcorn movie. In my opinion, anyone who slams this movie is beyond redemption!

I think there may be some misunderstandings going on here, re: the MST3K coverage of "Diabolik". Any fan of the MST series who followed the creators' commentary and blogs on the Sci-Fi channel website and via their newsletters, etc, knows that the Best Brains crew really ENJOYED "Diabolik" and saved it for their last episode as sort of a going away present for themselves. And anyone who paid attention to the way Mike and the 'Bots riffed through the movie would know that most of their comments were pretty good-natured, and mostly about the sheer silliness of the proceedings.

Certainly, "Diabolik" is head and shoulders over typical MST3K fare. Only "Marooned/"Space Travelers","Squirm", "Hercules", and the Russian Finnish trilogy come close to it in terms of actors, budget, energy, set design and general competence and ingenuity. Oh, and the black-and-white German TV staging of "Hamlet". (Even "starchy, pork-filled German Hamlet" is still "Hamlet", and it does have Maximillian Schell).

While the movie is (purposefully) lighter than cotton candy, and not meant to be taken at all seriously, it does do a great job of adapting the essence of the Italian comics anti-hero to the big screen. At a couple points, the Bava even has pencil graphics from the series integrated in stop motion into a couple scenes as a tribute to the feel and atmosphere of the "Diabolik" comics. They got the costume right, they got the hot blonde babe right, and they even had the audacity to try to pull off some of the gimmicks and plot devices typical of the series (much easier to do for an artist with a pencil and a drawing board than a stage and special effects crew!) And the whole thing is kept cooking and perking along with an incredibly insistent soundtrack that is built around catchy motifs that sink their hooks into the brain.

People don't really "act" in a film like this. Instead they invest energy inhabiting the cardboard characters who populate the film and trying to bring them to life. But Law and his hot blonde paramour do a splendid job of being magnetic and compelling (in a very clichéd, two-dimensional way, of course) and are fun to watch and they run around pulling heists, duping the law, making love atop piles of money, casually murdering everyone who gets in their way, etc. Even the supporting characters (the Inspector and the chief mob guy, recognizable as "Blofeld" from the early 007 movies) are fine and perform their thankless roles as Diabolik's dupes admirably.

It's not like anyone who ever heard of "Diabolik" didn't know what to expect. And it's not like anyone who spent more than 30 seconds watching it with an open mind wouldn't find plenty to enjoy as a harmless piece of escapist fluff. So I can't quite see the harsh reception and bad comments on the movie.

I rate it 7 out of 10, since I refuse to penalize it for dated pop culture references or the questionable morality of the source material. If I even find the 'straight' version on DVD somewhere for under $7, I might pick it up for my collection, especially if there are some background extras.

This movie has instantly become one of my very favorite Mario Bava features. Think James Bond, as a suave master thief, filmed in a psychedelic, occasionally campy, comic book style. (Diabolik was a comic first.) Add to that some fun humor and very fitting themes by the legendary Ennio Morricone, and you have one cool, little cult flick! The cheap DVD comes with some great extras, like a pleasant and informative commentary by star John Phillip Law and Bava expert Time Lucas. The short featurette was very good too, going over just how well Bava captured the comic book stylings in the film. Recommended purchase! By the way, Diabolik's mask and laugh---perfect.

Another great visual piece by the great Bava, this film is a faithful adaptation of the popular European comic about the anti-hero master criminal Diabolik. Almost overdosing on intense 60s color and style, the film moves through comic-style adventures with considerable European flair and well captures the atmosphere of the original material and the time.

(Yes, I understand that this made the last installment of Mystery Science Theater 3000, and I'm a MiSTie myself. But Diabolik is a good film, whether it has riffing potential or not.

Say you never heard a thing about Batman (as so many seem to never have heard a thing about Diabolik)--if you saw the 1988 Batman film, you'd think it was pretty stupid and over the top, wouldn't you? Unrealistic? Stupid, even? Maybe even think that the main character wasn't much of a hero, so dark, so sinister? And if you think that a lot of 'stylish' 90's films with their music-video montages aren't going to look dated in twenty years, you're kidding yourself. I'd advise supposed 'reviewers' to stop being such contemporist snobs.)