DIRECTED BY: Mario Bava
PLOT: A master thief and his girlfriend carry off a series of audacious heists while evading the police and a rival criminal.
WHY IT WON’T MAKE THE LIST: Despite some perplexing plot developments and slightly surreal moments, Danger: Diabolik never really journeys beyond its cops-and-robbers framework. Ultimately, it’s more a product of its era’s weirder impulses than anything truly out-there.
COMMENTS: Full of kitschy décor and colorful costuming, Danger: Diabolik is a time capsule of the late 1960s. The high-tech hijinks of its masked title character (Law) are redolent of Batman and James Bond, but with his frivolous capers and improbable escapes, Diabolik tops even those series’ campy excesses. The entire film is just a string of cat-and-mouse encounters, as the Javert-like Inspector Ginko (Piccoli) lays a trap—be it priceless emeralds or a 20 ton ingot of gold—only for Diabolik to abscond with the loot, and his sexy accomplice Eva (Mell).
It may be perplexing at first to see a glamorous ball of fluff like Diabolik being directed by Bava, a man who’s best-known for stylized horror films like Black Sunday. But Bava seizes on Diabolik’s ridiculous premise as a perfect opportunity to pour on the eye candy, unhindered by considerations of logic or self-restraint. So instead of just getting one more of the routine super-spy pastiches that were clogging the theaters in 1968, we get some delirious sequences influenced by psychedelia and pop art. The most effective such moment transpires when a prostitute tries to describe Eva’s appearance, leading into a bizarre animated cavalcade of mutating female faces.
The rest of Diabolik, however, is less audacious. The cast seems to exist outside of these creative outbursts, and their performances drone on, whether they’re madly overacting—like Thunderball‘s Adolfo Celi as an angry gangster, or Terry-Thomas as a tooth-gnashing government official—or else, like John Phillip Law, underacting to the point of barely giving a performance. Law is so deadpan that it’s easy to forget he’s there, and that’s not exactly a desirable trait in a brazen anti-hero. But who needs a believable performance when you’ve got sex amidst piles of cash? Or a giant mirror as a method for deterring the police? Or a grand finale that features an explosive vat of molten, “radioactivated” gold?
Diabolik’s triumph is that it dispenses with plausibility from the very first gush of multicolored fog, and doesn’t look back, prioritizing scenes of wacky spectacle over minor details like dialogue and characterization. So it’s certainly not a good movie, per se—in fact, a truncated version was mocked in the last-ever episode of “Mystery Science Theater 3000”—but it does carry its worn premise to enthrallingly absurd heights. For a viewer who wants some unrestrained campy nonsense, that should be as much of a lure as freshly cremated ashes chock-full of emeralds.
WHAT THE CRITICS SAY:
“Utilizing wide-angle lenses, day-glo colors, psychedelic sets, and outrageous costumes, Bava creates dynamic compositions which could have come straight from a comic-strip panel, along with some indelible images, none more so than Diabolik covered in gold at the end, or the shots of he and Eva making love on a spinning bed while covered by a pile of money.”–TV Guide
(This movie was nominated for review by reader “Jules.” Suggest a weird movie of your own here.)