Danger: Diabolik
Danger: Diabolik | |
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Directed by | Mario Bava |
Screenplay by |
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Story by |
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Based on | Diabolik by Angela and Luciana Giussani |
Produced by | Dino De Laurentiis |
Starring | |
Cinematography | Antonio Rinaldi |
Edited by | Romana Fortini |
Music by | Ennio Morricone |
Color process | Technicolor |
Production companies |
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Distributed by | Paramount Pictures |
Release dates |
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Running time | 105 minutes[2] |
Countries |
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Budget | £200 million |
Box office | £265 million (Italy) |
Danger: Diabolik (Italian: Diabolik) is a 1968 action and crime film directed and co-written by Mario Bava, based on the Italian comic series Diabolik by Angela and Luciana Giussani.[3] The film is about a criminal named Diabolik (John Phillip Law), who plans large-scale heists for his girlfriend Eva Kant (Marisa Mell). Diabolik is pursued by Inspector Ginko (Michel Piccoli), who blackmails the gangster Ralph Valmont (Adolfo Celi) into catching Diabolik for him.
An adaptation of the comics was originally envisioned by producer
Upon its theatrical release, Danger: Diabolik performed below De Laurentiis' expectations at the box office, and received negative reviews from The New York Times and Variety. With the re-evaluation of Bava's filmography, retrospective reception of the film has been more positive, with its visuals, the performances of Law and Mell, and the score by Ennio Morricone receiving praise. In studies of the film, critics and historians have focused on Bava's use of mise-en-scène to replicate the imagery and stylization of comic books, and the film's reflection of the socio-political upheavals of the 1960s in its characterization and narratology. Having garnered a cult following, Danger: Diabolik was chosen by Empire magazine as one of "The 500 Greatest Movies of All Time" in 2008. The first in a planned trilogy of new Diabolik films directed by the Manetti Bros. was released in 2021.
Plot
In an unidentified European country,
Diabolik and Eva attend a press conference held by the
While watching a news report, Diabolik decides to steal the famous Aksand emerald necklace from
While visiting her private doctor, Eva is recognised from the identikit image and abducted. To rescue her, Diabolik boards Valmont's airplane with the stolen $10 million and the necklace to trade for Eva. He is ejected from the plane, but manages to grab Valmont just before a bomb he had planted earlier explodes. Diabolik rescues Eva as Ginko and the police close in on them. Eva makes her escape, while Diabolik loads a
Later, a disguised Diabolik visits the morgue where Valmont's body has been cremated, collects the emeralds from his ashes and escapes, gifting them to Eva. Upon Ginko's realization that Diabolik is still alive, a million-dollar reward is offered for his capture; in retaliation, he blows up the tax offices. Despite pleas from the disgraced Minister of the Interior — now the Minister of Finance — the citizens refuse to pay their taxes, forcing the country into debt. Twenty tons of gold, which will be used to buy currency, are melted into a single block to make it difficult to steal; the block is loaded onto a train commandeered by Ginko. Diabolik and Eva divert the train by leaving a burning truck on the tracks and re-route it to a bridge where a bomb is placed. It explodes when the train arrives, and the gold falls into the water below. As Ginko swims ashore, Diabolik and Eva collect the gold and return to their hideout.
The steel casket containing the gold is traced by the police, allowing them to track Diabolik's hideout. They close in on Diabolik, who is melting the gold into smaller ingots. As the police fire upon him, Diabolik is unable to control the smelting, and the whole cavern ends up being covered in molten gold. Diabolik is believed to have been killed, with his heat-proof suit now covered in solidified gold. The police seal off the cavern, intending to recover the gold later. As Ginko arrives to arrest her, Eva is allowed a private moment to pay her respects to Diabolik, who winks at her.
Cast
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Uncredited:
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Production
Development
Tonino Cervi and Seth Holt
Producer Tonino Cervi, head of the production company Italy Film, was the first person to propose a film adaptation of Angela and Luciana Giussani's Diabolik, a pioneering example of the fumetti neri subgenre of Italian comics.[8] Cervi was ambiguous when describing his production, stating once that "I think that with a few retouches Diabolik could turn into an extraordinary character for the silver screen." In another interview, he acknowledged that "nowadays a good film based on Flash Gordon would be a sensational success [...] but it would cost as much as Cleopatra. I have to settle for something more modest, so I'm doing Diabolik."[8][9] Cervi's initial intention was to use the profits earned from Diabolik to finance an anthology film directed by Federico Fellini, Ingmar Bergman, and Akira Kurosawa.[9]
Italy Film acquired the adaptation rights from Astorina, the Giussanis' publishing house, for 20 million
Dino De Laurentiis and Mario Bava
De Laurentiis felt that the only way to save the film was to restart production with a new script and director.
Deciding to make the film as an ancillary project complimenting his upcoming production of Barbarella — which was also an adaptation of a comic series — De Laurentiis restarted production with financial backing for both projects from Paramount Pictures, set up a two-film co-production deal with French producer Henri Michaud of Marianne Productions, and hired Mario Bava as director.[12][17][18] Bava was reportedly suggested to De Laurentiis and the Giussanis by Farina, who was a fan of the director's giallo films, and informed the producer of Bava's popularity with cinephiles and intellectuals.[19] Bava was also deemed by De Laurentiis to be a financially viable director, as Le spie vengono dal semifreddo (the Italian version of Dr. Goldfoot and the Girl Bombs) had been a commercial success.[20]
Writing and pre-production
The initial treatment for Danger: Diabolik was written by Adriano Baracco, which was then adapted into a full screenplay by
In analysing Degas and Gates' Goldstrike! script (dated December 5, 1966) compared to the film, Bava biographer
Bava was permitted by De Laurentiis to utilize many of the key crew members of several of his most recent films (namely
Casting
John Phillip Law was invited to audition for Diabolik as a favor by De Laurentiis after production on Barbarella, which Law had been cast in as Pygar, was delayed due to technical difficulties, allowing director Roger Vadim and his wife and star, Jane Fonda, to make the "Metzengerstein" segment of Spirits of the Dead.[12][35] An avid comic book fan since childhood, Law was initially unfamiliar with the characters in Diabolik, and read several of the comics to understand his character, as he had done when preparing for Barbarella.[36] Due to most of the character's face being hidden by a black or white skin-tight mask, Law noted that the most prominent aspect of Diabolik's appearance was his eyebrows; he prepared for the role by applying mascara to his own, and taught himself to convey a wide array of expressions with them. Upon meeting with De Laurentiis and Bava, the director exclaimed "Ah, questo Diabolik!" ("This is Diabolik!"), indicating to Law that he had won the role.[37]
Budgetary changes led to established actors being cast in smaller roles, including
Casting Eva Kant proved particularly troublesome. The role was originally going to be played by an unidentified American model who was cast at the behest of her friend,
Bava was given the opportunity to recast Eva and selected
Filming
Danger: Diabolik began filming on April 11, 1967,
Although De Laurentiis set aside $3 million with which to make the film, the final budget came to only 200 million lire.[12][53] Despite their difficult working relationship, De Laurentiis was highly impressed by Bava's efforts, especially by the visual effects, jokingly declaring that he would inform Paramount that the film had gone overbudget, and that a matte painting of the car hangar in Diabolik's lair was actually a set that cost $200,000.[51] He decided that the money saved from the production needed to be used immediately to make a sequel, but Bava refused, later telling Cozzi, "I informed [De Laurentiis] that Diabolik was immobilized, that he was suffering from a permanent disability — that he was dead!".[54] The director would work again for De Laurentiis only twice more: on two episodes of the television miniseries The Odyssey, which he co-directed with Franco Rossi, and on Sergei Bondarchuk's Waterloo, for which he went uncredited for his visual effects work.[55] His recollection of his experiences on Danger: Diabolik led Bava to turn down De Laurentiis' offer to provide special effects for King Kong, recommending Rambaldi instead. Danger: Diabolik would also prove to be the only film Bava would direct for a major Hollywood studio such as Paramount; for the remainder of his career, he would work for independent producers who Lamberto Bava often described as "dodgy".[53]
Visual effects
Lucas has analysed Bava's extensive use of visual effects photography in Danger: Diabolik and its implementation of techniques used in his earlier films, albeit to a more flamboyant degree as allowed by the film's budget. With regard to the film's first sequence, shot in an alleyway near Dinocittà, he states that Bava opens the film with "a parade of illusions", most notably the establishing shot of a bank, which utilizes a travelling matte that adds multiple floors to a single-floor structure while duplicating the structure to the opposite side of the screen; to visually lend scale to the matte, toy figurines are used to represent soldiers standing guard on both sides of the structure, while a toy tank is visible in the foreground as a motorcade of police officers on motorcycles ride through the structure's gate in the lower section of the composition — the only part of the set that was actually built. He describes this as "a staggering pre-digital effect, and it's only there not to be noticed".[57]
Aside from this example and Diabolik's car hangar, other instances of Bava's in-camera matte work in the film include the exteriors of Saint Just Castle — which were filmed on the beaches of Tor Caldara, where he employed similar effects for Erik the Conqueror, The Whip and the Body, Knives of the Avenger, Five Dolls for an August Moon and Roy Colt & Winchester Jack — Valmont's runway (for which only one wing and a portion of a plane's hull were painted) and the cabin in which Eva is held hostage;[51][58] although an establishing shot of Valmont's plane flying towards the runway was shot with a specially-prepared matte, the sequence was ultimately cut from the finished film.[59] For the sequence in which Diabolik scales the castle wall, a convex section of material was built at a 35 degree angle, allowing Law to "climb" the wall without needing to be doubled by the film's stunt coordinator, Gofreddo "Freddy" Unger (who instead doubled for him during Diabolik's dive into a harbor in the pre-title sequence); the scene was shot with wide-angle lenses to lend a sense of depth and height.[60] The underwater sequences of Diabolik and Eva's recovery of the gold were shot by a second unit supervised by Francisco Baldini; these are interspersed with close-ups of Law and Mell's faces that were filmed "dry" in front of an aquarium.[61]
Lucas is more critical of Bava's uncharacteristic use of
For scenes in which characters are dropped out of the trapdoor of Valmont's plane,
Music
Morricone's score for Danger: Diabolik, which was conducted by
Although an Italian-language version of "Deep Down" was released by Parade as a 45 RPM single, the original score has never seen a full, authorized release, as the original master tapes were destroyed in the 1970s by a warehouse fire. This has resulted in several unauthorized reconstructions of the score being released on CD, the most widely distributed of which is a version attributed to Pallottola Foro, which also includes dialogue extracts from the film.[67] In the March 2002 issue of GQ's list of the "Top 10 Movie Soundtracks of All Time", Morricone's score was ranked third.[67]
Release
Danger: Diabolik's release was highly anticipated in Italy, and this led to De Laurentiis threatening to sue producers of films whose titles were similar to his, such as Superargo Versus Diabolicus and Arriva Dorellik.[68] Danger: Diabolik was submitted to the Italian Board of Censors in December 1967 and, after five brief cuts were made to the film, it was released in Italy on January 24, 1968.[24] The film was described by film historian Roberto Curti as a "financial disappointment for De Laurentiis" with a gross of only slightly more than 265 million lire.[68] It opened in Paris in April 1968 under the title Danger Diabolik.[69]
In the United States, Danger: Diabolik was first released in August 1968,
Home media and television
Two English-language dubs of Danger: Diabolik were produced,[50] both featuring the voices of Law, Mell and Terry-Thomas.[73] The original English version, used for the film's theatrical, DVD and Blu-ray releases, presented the remaining cast dubbed with predominantly British accents,[50] and included the voices of Dan Sturkie and Bernard Grant as Ginko and Valmont respectively.[74][75] The second version, used for the film's VHS and LaserDisc releases, was created when the original sound elements for the dubbed version (aside from those of the three aforementioned performers) were believed to be lost;[73] the non-English-speaking actors were dubbed with predominantly American accents,[50] and Richard Johnson is reported to be among the voice actors for this version.[76] This version also greatly remixed the audio levels for the sound effects and music, and dropped the Danger: from the original English version's title due to using an Italian print. Lucas considers the vocal performances of the second version to be inferior to the original, particularly deeming the performances of Piccoli, Celi, Lucia Modugno and Annie Gorassini to be negatively impacted by their newer dubbers.[73]
Footage from the film was extensively featured in the music video for the Fatboy Slim remix of "Body Movin'" by the American hip-hop group Beastie Boys. This footage is interspersed with new material, created using many of the same techniques as Bava's film, depicting Diabolik (portrayed by Ad-Rock) humorously attempting to steal a fondue recipe from a villain (Adam Yauch) and his butler (Mike D).[77] Yauch, who also directed the video under his alias "Nathanial Hörnblowér", described the film as "campy in a way, but not in a bad way" and found the acting and direction to be "ridiculous" but with the set design being "so over the top the acting is appropriate";[78][79] he believed that the film's appeal lay in its depiction of Diabolik as a criminal, in contrast to the superheroes of most comic book film adaptations.[80]
The second English version was featured on the
Danger: Diabolik was released on DVD by Paramount Home Entertainment on June 14, 2005;[84] this release was produced by Kim Aubry of American Zoetrope, who was responsible for recovering the audio masters for the original English version.[83] The DVD's special features include an audio commentary featuring Law and Lucas, the "Body Movin'" music video (featuring an optional audio commentary with Yauch), and Danger: Diabolik - From Fumetti to Film, an appreciation of the film featuring Bissette, Law, De Laurentiis, Morricone, Yauch, and filmmaker Roman Coppola.[85] Reviews of the disc by Cinefantastique and Video Librarian praised the release, noting the high quality of the digital transfer and special features.[86][87] This DVD is now out of print.[88]
Reception
Contemporary
Upon its initial release, Howard Thompson of The New York Times gave a brief negative review of Danger: Diabolik, referring to the film as "infantile junk."[92] Variety was also negative, calling it a "dull Dino De Laurentiis programmer" whose "[b]izarre sets, poor process work, static writing and limp direction spell pure formula fare for lowercase grind bookings."[93] A more favorable review came from Roger Ebert of the Chicago Sun-Times, who gave it a two-and-a-half star rating out of four, stating that although he felt that the film was "long and eventually loses track of itself", he deemed it to be "very nearly the movie Barbarella should have been" due to "look[ing] better put-together (although its budget must have been smaller)", noting Bava's "thorough grounding in schlock exploitation films" and praising his use of clichés. He also found Piccoli's casting as Ginko to be "nothing short of hilarious".[94] In Britain, a review came from David Hutchison for the April 1969 issue of Films and Filming, who deemed the film's use of spy-fi tropes to be outdated, but made a point that "the comic strip has a great many affinities with the motion picture; both are a series of separate pictures and take the same advantage of light, shade, colour and perspective. Bava is obviously well aware of this and the result is a film strip cartoon which, despite its faults, is generally more successful than either Modesty Blaise or Barbarella in capturing an elusive comic strip flavour".[95]
Betty Marcus of
Retrospective
[Danger: Diabolik] is more than just an inspired adaptation of the Giussani Sisters' fumetti, a fact that only becomes apparent when one realizes that the original comics stories were published in black-and-white. Diabolik defines the correct color template for this black-and-white character, much as Bava redefined the way horror films were photographed in color earlier in the decade. It's not a colorful study in fright and superstition — the sort of film one associates with Bava — but neither is it an impersonal work; on the contrary, the more one is aware of Bava's total control over the film's design, and the abundance of camouflage and trickery that went into its making, Diabolik reveals itself to be every bit as personal as [Hercules in the Haunted World] or [Planet of the Vampires], if not quite so autonomous a creation.
Danger: Diabolik's status as a cult film gradually grew as studies of Bava's career began, and was explored in the DVD featurette From Fumetti to Film, which drew attention to the film's relation to its comic book roots.[99] According to Lucas, the film was generally well received by contemporary critics and audiences who viewed it in the context of its pop art aesthetic, but it was disregarded as "not only artificial, but frivolous" by the counterculture of the time due to their preference for the realism in New Hollywood films such as Midnight Cowboy, The Wild Bunch and Woodstock. He states that its popular reception evolved from being seen as "quaintly campy" in the 1970s, "interesting" in the 1980s, to "fashionable" in the 1990s due to its VHS and LaserDisc release — the result of a successful letter-writing campaign among fans directed at a hesitant Paramount Home Video — coinciding with new trends in lounge music, style and fashion.[73]
In a 2012 issue of Film International, John Berra similarly noted that the film had initially "been left to languish in obscurity since its staggered international release at the end of the 1960s" and that it "mostly existed as a kitsch reference point or as an easy target for tongue-in-cheek parody", citing both its MST3K episode and the "Body Movin'" music video as examples.[78][79] Berra described the film as being "warmly received" by the internet community, who routinely embraces comic book adaptations and seeks to adopt films that have been neglected by popular audiences.[99] Lucas identifies the "uncomplicated magnetism" of Law and Mell's onscreen sexual chemistry as one of the primary factors of the film's cult following.[100] Similarly, Kat Ellinger believes that both Danger: Diabolik and Barbarella reflect trends of the sexual revolution, presenting a morally ambiguous worldview that stands in contrast to most 21st century comic book film adaptations such as the Marvel Cinematic Universe, which she described as largely "masculine and asexual". This is seen not only in its characterization of Diabolik and Eva, especially the similarity of the latter's role to the assertive female characters frequently seen in Bava's other films, but also in the film's production and costume design.[101] She particularly notes a circular motif in Mogherini's art direction, such as the dial on Diabolik's safe (which bares some resemblance to a woman's breast), Diabolik and Eva's bed — "a giant circular statement that invites an orgy of at least ten" — and their swimming pool.[102]
Video Librarian noted that the film was "guaranteed to delight viewers whose tastes run to the outré", praising Morricone's score, Law and Mell's acting, and noting that the "real star is Bava" stating that "the film is colorful almost to the point of garishness."[87] Cinefantastique also discussed the film's visuals, noting that: "[Bava's] color rich, brilliantly artificial-looking compositions were the cinematic equivalent of comic book art even before he tackled the form." The magazine also found that the special effects rivalled those of Bond series veteran Ken Adam.[86] The review also praised Law's work in the film noting his "amazingly expressive eyebrows" and declared the film as "1960s pop-culture heaven."[86] Ignatiy Vishnevetsky (The A.V. Club) compared the film to Barbarella, opining that Diabolik had "a sense of infectious, amoral fun" which Barbarella lacks.[88] He declared the film to be among "the definitive touchstones of Euro pulp."[88] Empire included the film on its list of the top 500 greatest films. They described the movie as "thin as a poster, but still amazing cinema – a succession of striking, kinetic, sexy, absurd images accompanied by a one-of-a-kind Ennio Morricone score that revels in its casual anarchy."[103]
Jim Vogel ranked the film's MST3K episode at #75 out of 191, calling the series' ending "a fairly satisfying conclusion" and found the film to be "entertaining enough ... it's hard not to appreciate the Technicolor splendor and absurd costuming."
In later years, Law expressed pride in having been involved in the film. Describing his view on its re-evaluation and fandom, he noted that he read "a book about science fiction movies and seeing a mention of Barbarella and Danger: Diabolik. The author said that Barbarella was okay, but that Danger: Diabolik was the masterpiece. I was amazed because, for some years, I'd thought it was probably the other way around. But as time goes on, you know, I can see what he meant. I think Diabolik probably is the masterpiece".[83]
Legacy and influence
Danger: Diabolik and Barbarella were part of a minor trend of film adaptations of European comics that emphasized mild sadomasochism and late 1960s fetish gear; aside from these two films, 1968 saw the release of Piero Vivarelli's similarly themed Satanik.[106][107] These were followed by Bruno Corbucci's Ms. Stiletto in 1969, and Corrado Farina's Baba Yaga in 1973.[106] The production and costume design of both films also reflected a larger movement of retrofuturism seen in European genre films of the 1960s and 1970s. These include Pasquale Festa Campanile's The Libertine and Check to the Queen (both of which were designed by Mogherini), Umberto Lenzi's So Sweet... So Perverse, Tinto Brass' Col cuore in gola, Fulci's One on Top of the Other and A Lizard in a Woman's Skin, Elio Petri's The 10th Victim, Piero Schivazappa's The Laughing Woman and Radley Metzger's Camille 2000 and The Lickerish Quartet.[108] The look of Diabolik in the film influenced his depiction in the fumetti: because the film's audiences could see Diabolik's mouth due to Law's mask being made out of latex, the series' artists, Enzo Facciolo and Sergio Zaniboni, gave up on trying to shade in his mouth, and simply outlined it.[68][109]
Along with Barbarella, Danger: Diabolik is one of several genre films that is referenced in Roman Coppola's film CQ, which explicitly pays tribute to several scenes in the film, such as Eva's showering and her lovemaking with Diabolik on top of money; Law also appears in the film in a supporting role.[110] British director Edgar Wright similarly cited it as an influence on his film Scott Pilgrim vs. the World, describing Danger: Diabolik as an "Italian influence, a sense of completely unbridled imagination. They don't make any attempt to make it look realistic. Mario Bava's composition and staging has a real try-anything attitude."[111]
Further films, TV series and radio dramas
In 1991,
In 2000, Radio Monte Carlo produced a radio drama adaptation of several of the original fumetti stories from Diabolik. The series was broadcast on Rai Radio 2, and aired for 20 episodes on weekdays from November 13 to December 8.[83] Adapted by Armando Traverso, directed by Arturo Villone and featuring original music by Giovanni Lodigiani, the series featured the voices of Luca Ward as Diabolik, Roberta Greganti as Eva, and Luca Biagini as Ginko.[113]
In the early 2000s, a new film based on Diabolik, directed by Christophe Gans and starring Mark Dacascos and Monica Bellucci, was in development.[114] Gans opined that "The Bava film is unique and I'd never, ever want to copy it. But let's see where we can take Diabolik today for a totally new and different Pop art experience."[114] The film did not go into production.[114] In 2002, screenwriter and Diabolik historian Mario Gomboli announced that a French production of Diabolik was to be made with a contemporary setting from a script written by Carlo Lucarelli and Giampiero Rigosi.[114] The script was completed in April 2007, with filming set to begin in January 2008, but the production stalled.[114] In 2012, Sky Group, in conjunction with Sky France and Sky Italia, produced a teaser trailer for a second proposed live-action TV series based on Diabolik, but the series did not enter production.[115]
In December 2018,
See also
- List of films based on comics
- List of Italian films of 1968
- List of French films of 1968
- List of Mystery Science Theater 3000 episodes
- Terry-Thomas on screen, radio, stage and record
References
Notes
- erotic films.[4]
- ^ Degas and Gates' draft of the screenplay makes the following suggestion with regards to color symbolism: "In general, all of Diabolik's accoutrements are black, all Eva's — white." While this motif was used during Deneuve's stint in the film's production, it was largely abandoned following the casting of Mell, whose costumes are patterned in a variety of colors, notably orange. The motif was primarily retained for the black and white Jaguar E-Types driven by Diabolik and Eva, respectively.[26]
Citations
- ^ Lucas 2007, p. 751.
- ^ a b Curti 2016, p. 94.
- ^ BFI. Archived from the originalon August 11, 2016. Retrieved 3 November 2020.
- ^ Ellinger, Kat. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 6:13.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 29:25.
- ^ Lucas 2007, p. 341.
- ^ a b c d Lucas 2007, p. 722.
- ^ a b Curti 2016, p. 99.
- ^ a b c d e f g h i j k Curti 2016, p. 100.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:22:43.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:23:40.
- ^ a b c d e f g h Curti 2016, p. 102.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:23:22.
- ^ Gough-Yates, Kevin (November–December 1969). "Seth Holt interview". Screen. Vol. 10, no. 6. p. 17.
- ^ Lucas, Tim. The Witches (Blu-ray). Arrow Films. Event occurs at 1:36:20.
- ^ Curti 2016, p. 52.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 9:10.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:24:15.
- ^ a b c Lucas 2007, p. 724.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:55.
- ^ "Danger: Diabolik". Trailers from Hell. 8 December 2020. Retrieved 24 December 2020.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:24:50.
- ^ "Diabolik (1968)". Archivo del Cinema Italiano (in Italian). Retrieved 23 November 2020.
- ^ a b c d e f Curti 2016, p. 104.
- ^ a b Lucas 2007, p. 725.
- ^ a b c d Lucas 2007, p. 735.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:26:33.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 20:40.
- ^ Lucas 2007, p. 737.
- ^ a b c Lucas 2007, p. 734.
- ^ a b c Lucas 2007, p. 729.
- ^ Lucas 2007, p. 727.
- ^ Celli & Cottino-Jones 2007, p. 106.
- ^ Tapley, Kristopher (28 February 2016). "Legendary Composer Ennio Morricone Wins Original Score Oscar for 'Hateful Eight'". Variety. Archived from the original on 2 March 2016. Retrieved 6 October 2016.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:20:03.
- ^ a b c d e f Curti 2016, p. 103.
- ^ a b c Dury, Yourek (Director), Kapri, Mario (Director), John Philip Law (Producer) (2007). The Swinging Lust World of John Philip Law (Motion picture). Deep Deep Down Productions. Event occurs at 22:30-27:00.
- ^ a b Lucas 2007, p. 731.
- ^ Lucas 2007, p. 732.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 22:00.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:13:45.
- ^ a b Lucas 2007, p. 728.
- ^ Shen, Ted. "Roy Colt and Winchester Jack". Chicago Reader. Retrieved 21 April 2018.
- ^ Lucas, Tim. The Witches (Blu-ray). Arrow Films. Event occurs at 6:10.
- ^ a b Lucas 2007, p. 730.
- ^ "History of the chignon". All Chignon. Retrieved 3 January 2021.
- ^ Galassini, Francesca (15 August 2013). "Eva Kant". Vogue. Archived from the original on 9 September 2018. Retrieved 3 January 2021.
- ^ Ellinger, Kat. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 14:15.
- ^ Curti, Roberto (2018). Time is the Murderer: Lucio Fulci's Una sull'altra (booklet). Mondo Macabro. p. 1. MDO185.
- ^ a b c d Hughes 2011, p. 114.
- ^ a b c Lucas 2007, p. 738.
- ^ a b Curti 2016, p. 88.
- ^ a b Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:35:10.
- ^ a b c Lucas 2007, p. 745.
- ^ Lucas, Tim. Four Times That Night (Blu-ray). Kino Lorber. Event occurs at 12:20.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 14:39.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 0:19.
- ^ Lucas 2007, p. 740.
- ^ a b Lucas 2007, p. 741.
- ^ a b Lucas 2007, p. 742.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:26:42.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:00:20.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 6:09.
- ^ Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 56:38.
- ^ Bissette, Stephen R. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 10:28.
- ^ Lucas 2007, p. 746.
- ^ a b c Lucas 2007, p. 749.
- ^ a b c Curti 2016, p. 108.
- ^ a b American Film Institute, 1997. p. 225
- ^ a b Lucas, Tim. Danger: Diabolik (Blu-ray). Imprint Films. Event occurs at 1:36:35.
- ^ Lucas 2007, p. 752.
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Bibliography
- Celli, C.; Cottino-Jones, M. C (2007). A New Guide to Italian Cinema. Springer. ISBN 978-0-230-60182-6.
- Curti, Roberto (2016). Diabolika: Supercriminals, Superheroes and the Comic Book Universe in Italian Cinema. Midnight Marquee Press. ISBN 978-1-936168-60-6.
- Hughes, Howard (2011). Cinema Italiano: The Complete Guide from Classics to Cult. I.B.Tauris. ISBN 978-0-85773-044-2.
- Kuersten, Erich (October 19, 2005). "Danger: Diabolik (1968)". PopMatters. Archived from the original on 2021-01-07. Retrieved January 7, 2020.
- ISBN 978-0-9633756-1-2.
- ISBN 978-1-4088-1750-6.
- The American Film Institute Catalog: Feature Films, 1961–1970, Part 2. ISBN 0-520-20970-2.
- Reiss, Shelley R., ed. (2013). Reading Mystery Science Theater 3000: Critical Approaches. Scarecrow Press. ISBN 978-0-8108-9141-8.
- Willis, Donald, ed. (1985). Variety's Complete Science Fiction Reviews. Garland Publishing Inc. ISBN 978-0-8240-6263-7.
Further reading
- Hunt, Leon (2018). Danger: Diabolik. ISBN 9780231851121.
External links
- Danger: Diabolik at IMDb
- Danger: Diabolik at AllMovie
- Danger: Diabolik at Rotten Tomatoes
- Danger: Diabolik at the TCM Movie Database