Danger: Diabolik (Mario Bava, 1968)
Until recently, I had deliberately delayed reviewing Mario Bava’s deliriously, mad cap film Danger: Diabolik (1968) due to not having read any of the comics it was adapted from. The master thief known as Diabolik was created by Italian sisters Angela and Luciana Giussani in 1962. He was more of an anti-hero/villain, given his motivations and actions. From my understanding, the ingenious thief, with a maniacal laugh, would not hesitate to murder any innocent bystander who stood in his way. Hence, the book is allegedly more subversive than traditional comics of that era. Diabolik’s popularity spawned a whole sub-genre of Italian comics known as fumetti neri (dark comics) and gave rise to other notorious characters: Kriminal, Satanik and Sadik; some of which had their own film adaptations.
I found it challenging to locate an English translation of Diabolik . As an alternative, I decided to watch the recent trilogy of films directed by the Manetti Brothers: Diabolik (2021); Diabolik: Ginko Attacks! (2022) and Diabolik: Who Are You? (2024). Fans of the comic consider the trilogy to be more faithful to the source material compared to Bava’s film. After binge-watching all three films, I shan’t bother with the comic books. They are drab, dire and completely lifeless. The complete opposite of Bava's adaptation. All three of them are diabolically bad (I thought I was being clever here, but I'll probably regret typing that sentence whenever I reread this review). Therefore, I can confidently conclude Danger: Diabolik is the superior version; regardless of its deviation from the comic.
Danger: Diabolik is pure bork overload. A visually striking Italian-French co-production, characterised by Bava’s vibrant colour palette and camera wizardry; grandiose and opulent set designs; recognisable European actors in camp mode; and Il Maestro of film composers, Ennio Morricone, creating a distinctive blend of his trademark spaghetti western sounds, ecclesiastical organs, jazzy pop and lounge lizard muzak, furthering the psychedelic experience. The result is a demented Pop-Art film that easily sits between the early James Bond films and the kitsch Batman television series.
The film’s production history was fraught with difficulties. The Nanny’s Seth Holt was the original director when filming commenced in 1965; with Jean Sorel being cast as the titular character. Producer Dino De Laurentiis was dissatisfied with the dailies and production was brought to a halt until Mario Bava was hired to restart the film on a significantly reduced budget. Sorel was out by this time. Having already been familiar with the comic, John Phillip Law secured the lead after impressing De Laurentiis with his dastardly eyebrow expressions; a skill essential when having to wear a latex balaclava while racing around in a speedboat or a sport scar. Bava was unhappy with Catherine Deneuve as Eva Kent, Diabolik's beautiful girlfriend and partner in crime. The Austrian bombshell Marisa Mell was subsequently cast in her place. This proved to be a successful casting decision as Law and Mell exhibited great onscreen chemistry and contributed to the racy scenes in the film.
In terms of the film’s plot, Diabolik’s ingenious and daring heists have driven the nameless European country’s Minister of Interior, played by the gap-toothed, British toff Terry-Thomas, to extreme measures: by enforcing the death penalty on all criminals. His arch-nemesis, Inspector Ginko (Michel Piccoli), is counting on the crime syndicate, led by Ralph Valmont (Adolfo Celi, virtually reprising his villainous role as Emilio Largo from the 1965 James Bond film Thunderball) to rid them of the master thief. Following the kidnapping of his beloved Eva and a free-falling confrontation with Valmont, Diabolik steals the world’s largest gold ingot. Unaware that traces of the ingot were irradiated under Ginko’s orders, thus the objects serves as a homing device. This leads to the law's discovery of Diabolik’s secret lair and the film’s climactic finale.
Bava’s film presents an intriguing dynamic by positioning Diabolik against both law enforcement and the criminal underworld; forcing the master thief into an anti-hero. This is evident when he unleashes a bombing campaign against the state’s tax department after learning of their enforcement of the death penalty. By not permitting Diabolik to steal, he will reciprocate by preventing the government from doing the same. His anti-establishment and individualistic nature comes across as subversive and ahead of its time for a 1960s comic book character.
Danger: Diabolik is an exceptional visual experience for those who appreciate wonderfully eccentric and vibrant cinema. Mario Bava was a masterful filmmaker; renowned for his exquisite cinematic eye, autistic levels of detail to the mise-en-scène and ingenious visual effects. Bava demonstrated his ability to create a wonderfully whimsical and trippy comic book movie with the same care and attention to the sumptuous, atmospheric, gothic Italian horror he became renowned for. A very versatile and capable director, who was unjustly lumped as a poor man's Alfred Hitchcock.
The elaborate sets provide an exceptional playground that are a huge part to the film’s charm. The most notable is Diabolik’s underground lair. An eye-catching, post-modernist structure built within a vast cavern. It’s spectacular enough to rival some of Ernst Stavro Blofeld’s residences. The home is furnished with modern conveniences including his and hers groovy showers and a giant, rotating circular bed (you won’t find one of them in Dreams) where they make passionate love all day amongst all their stolen cash. Not exactly hygienic, but a lifestyle I can respect. The lair is surrounded by a fleet of Jaguar E-Types; the protagonist’s trademark wheels. With a subterranean entrance to the sea, Diabolik’s hideout comes complete with its own submarine. A convenient transport for moving a giant gold ingot. Above all, I’m particularly fond of the giant pipe organ which serves as the lair’s security alarm. A unique, yet very fitting device for any supervillain.
Sources suggest the reason a sequel was never made was that Bava did not enjoy his experience working with De Laurentiis. Alternatively, the film’s commercial failure is a more plausible explanation. If Danger: Diabolik had been successful, a sequel would have been produced even without Bava’s involvement. Regardless of which is true, it has become a cult film often included amongst the best comic book movies by various film media. Watchdog’s Tim Lucas once citing it as the greatest comic book film ever made on the audio commentary of my old Anchor Bay DVD of the film.
Danger: Diabolik did not leave the same first impression on me as Bava's gothic horror films initially did. The film has greatly grown on me with subsequent revisits. I think it might have been Diabolik’s quintessential European stylings and campiness being not to my taste during my edge lord youth. This was a time when Batman had long abandoned the campiness of the ‘60s television series and embraced the dark and gothic sensibilities as reflected by Tim Burton’s 1989 Batman film. Since then, however, I have found Danger: Diabolik deeply refreshing in comparison to the irreverent deconstruction and revisionism committed to familiar comics book characters today. They are trends that have become increasingly tiresome and clichéd for me. Hence, a fictional character who steals for the adrenaline rush and to support his lavish lifestyle with his sexy girlfriend, is both beautifully simplistic and far more appealing to me than the latest Marvel and DC slop.
One of Mario Bava’s greatest films.
Eureka has recently released a superb 4K UHD of Danger: Diabolik as part of its Masters of Cinema series. This is perhaps my favourite boutique film release of the year. Alternatively, I would highly recommend that those who have not seen the film to check it out for free on YouTube. Deep, deep down, you know you want to!
