Danger: Diabolik (1968) ****1/2
Danger: Diabolik (1968) is a film that I fell in love with instantly. It earned a place on my Top 100 Films list in 2014. When I revised that list in 2019 the only reason that Diabolik didn't make the cut was because I had sold my DVD so I didn't own a copy at the time. It's finally been given a Blu-ray release so when I make my next Top 100 in 2024, you can bet it has a spot reserved.
Based on the popular fumetti (Italian comics) created in 1962, Mario Bava's film is exactly what I always wanted in a film adaptation of a comic (instead of the superhero dreck that has clogged cinemas for over a decade)—it's literally a comic book come to life. It's ludicrous, it's whacked-out, it's playful and it's F-U-N, fun—even hilarious at times (I frequently find myself laughing out loud). Diabolik is campy in the way that the Batman (1966-68) television series was but it’s never corny like the latter and it has loads more super sexy 60s style.
John Phillip Law plays the titular character—picture James Bond except as a super villain (he even has a deliciously devious laugh) and instead of being a swinger he's actually in a monogamous relationship! There's another connection to the Bond films as well—Adolfo Celi, who three years earlier played the baddie in Thunderball, portrays rival villain Valmont, a surly and ruthless opponent. Diabolik and his partner Eva (played by the sultry Marissa Mell) work together to satisfy their nefarious desires and you can be sure they are in it for themselves—robbing from the rich, the police, other criminals, and whomever they please.
What's mind-blowing about Diabolik being the (anti)hero is that he and Eva are not just criminals, they are by all accounts terrorists. They troll a press conference held by the Ministry of the Interior by releasing "exhilarating gas" into the crowd (and they remain unaffected, thanks to their "anti exhilarating gas" capsules). They cause all manner of destruction of property—including blowing up tax offices in retaliation of the million-dollar reward offered for Diabolik's capture. In short, Diabolik and Eva don’t give a fuck about the establishment. Plus they get to drive beautiful cars, wear colorful form-fitting costumes and have an uber chic underground lair. It’s a wonderful fantasy.
Director Bava seems willing to try anything with his camera (so many different techniques and creative framings are utilized). It’s funny that I consider Diabolik my favorite Bava film because this one isn't gothic, it isn't a giallo, and it doesn't feature his trademark use of primary colored lights. Future Oscar winner (for E.T. The Extra-Terrestrial (1982) (my review here)) Carlo Rambaldi provided uncredited production design to give Bond designer Ken Adam a run for his money. Bava definitely lingers plenty on Marissa Mell's curves but then again both leads are sexualized here (lest we forget John Phillip Law’s beefcake role in Barbarella, producer Dino De Laurentiis' other camp classic released the same year). Sensuality is a big part of Diabolik and Law and Mell are two gorgeous specimens of the human body. They ooze charm and sex appeal with simply a look.
Ennio Morricone's eclectic score is a huge part of what makes Diabolik so incredible. Morricone has scored hundreds of movies and many of his themes are iconic. Maybe I say this every time I write about him, but I really do think his score for Diabolik is one of his best, most varied, and easily the most fun. It's a shame really because it's never been officially released in full (bootlegs do exist but the sound quality is subpar). The theme song "Deep Down" sung by Christy is so infectious that you don’t mind it being used repeatedly in endlessly interesting instrumental variations. Speaking of music (and for many people this may have been their introduction to the film), the Beastie Boys famously incorporated and reinterpreted footage from the film for their “Body Movin’” music video directed by Nathanial Hörnblowér to great effect.
If I have one criticism of Diabolik it's that it's a touch too long and loses just a bit of steam in some spots. The finale also kind of fizzles out but I do love that the film ends with a literal wink to the audience. I'm not sure any other ending would make sense. *Maniacal laughter*
You can find my Mario Bava Feature Films Ranked list here.
Based on the popular fumetti (Italian comics) created in 1962, Mario Bava's film is exactly what I always wanted in a film adaptation of a comic (instead of the superhero dreck that has clogged cinemas for over a decade)—it's literally a comic book come to life. It's ludicrous, it's whacked-out, it's playful and it's F-U-N, fun—even hilarious at times (I frequently find myself laughing out loud). Diabolik is campy in the way that the Batman (1966-68) television series was but it’s never corny like the latter and it has loads more super sexy 60s style.
John Phillip Law plays the titular character—picture James Bond except as a super villain (he even has a deliciously devious laugh) and instead of being a swinger he's actually in a monogamous relationship! There's another connection to the Bond films as well—Adolfo Celi, who three years earlier played the baddie in Thunderball, portrays rival villain Valmont, a surly and ruthless opponent. Diabolik and his partner Eva (played by the sultry Marissa Mell) work together to satisfy their nefarious desires and you can be sure they are in it for themselves—robbing from the rich, the police, other criminals, and whomever they please.
What's mind-blowing about Diabolik being the (anti)hero is that he and Eva are not just criminals, they are by all accounts terrorists. They troll a press conference held by the Ministry of the Interior by releasing "exhilarating gas" into the crowd (and they remain unaffected, thanks to their "anti exhilarating gas" capsules). They cause all manner of destruction of property—including blowing up tax offices in retaliation of the million-dollar reward offered for Diabolik's capture. In short, Diabolik and Eva don’t give a fuck about the establishment. Plus they get to drive beautiful cars, wear colorful form-fitting costumes and have an uber chic underground lair. It’s a wonderful fantasy.
Director Bava seems willing to try anything with his camera (so many different techniques and creative framings are utilized). It’s funny that I consider Diabolik my favorite Bava film because this one isn't gothic, it isn't a giallo, and it doesn't feature his trademark use of primary colored lights. Future Oscar winner (for E.T. The Extra-Terrestrial (1982) (my review here)) Carlo Rambaldi provided uncredited production design to give Bond designer Ken Adam a run for his money. Bava definitely lingers plenty on Marissa Mell's curves but then again both leads are sexualized here (lest we forget John Phillip Law’s beefcake role in Barbarella, producer Dino De Laurentiis' other camp classic released the same year). Sensuality is a big part of Diabolik and Law and Mell are two gorgeous specimens of the human body. They ooze charm and sex appeal with simply a look.
Ennio Morricone's eclectic score is a huge part of what makes Diabolik so incredible. Morricone has scored hundreds of movies and many of his themes are iconic. Maybe I say this every time I write about him, but I really do think his score for Diabolik is one of his best, most varied, and easily the most fun. It's a shame really because it's never been officially released in full (bootlegs do exist but the sound quality is subpar). The theme song "Deep Down" sung by Christy is so infectious that you don’t mind it being used repeatedly in endlessly interesting instrumental variations. Speaking of music (and for many people this may have been their introduction to the film), the Beastie Boys famously incorporated and reinterpreted footage from the film for their “Body Movin’” music video directed by Nathanial Hörnblowér to great effect.
If I have one criticism of Diabolik it's that it's a touch too long and loses just a bit of steam in some spots. The finale also kind of fizzles out but I do love that the film ends with a literal wink to the audience. I'm not sure any other ending would make sense. *Maniacal laughter*
You can find my Mario Bava Feature Films Ranked list here.
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