I was not expecting that. I’m not fully sure what I was expecting from the playfully hipster go-go Danger: Diabolik. It was more a spiritual lover to Roger Vadim’s Barbarella than its relation to anything in director Mario Bava’s filmography.
The film’s lighter-than-air plot of a ne’er-do-well thief (John Phillip Law) and his girlfriend (Marisa Mell) pulling off impossible heists against the impossibly rich to fund their party-heavy lifestyle could only be done in the 1960s. Though sixty years later, there is a punk rock defiant attitude to everything that seems relevantly fresh to the way Diabolik rips off the rich. Even now, audiences can cheer for his exploits as they’re even more relatable than in years prior.
Though the main attraction is its director and the style he brings to the film, one Mario Bava. Bava’s Technicolor visuals are not just stylish and fun, but the trickery involved is a magic trick that brings one back time and time again to watch this film. Similar to the way that one rewatches Ray Harryhausen’s films or Peter Jackson’s films. The trick is the artistry both in the celluloid act of illusion and in the visuals to tell the story.
There is a critique that Bava’s movie is camp or campy … which is lobbed as some sort of dismissive critique. One would be terribly wrong to call Danger: Diabolik campy. Bava’s film is witty and even at times playful with its audience, but it is never camp. That would indicate that it did not know what it was doing or that it wasn’t assured in its purpose. This film completely understands its purpose.
There is one thing for certain. Danger: Diabolik is as confident a piece of style that Mario Bava ever put together. The only shame is that he had such a terrible time making it, we didn’t get at least three more adventures with the dashing thief. We will just have to settle for one perfect one instead.
The Transfer
The all-new HDR/Dolby Vision Master by Paramount Pictures – From a 4K Scan of the 35mm Original Camera Negative is an excellent presentation. It should be noted that there are a few moments where the image is less than stellar. One does have to wonder if these moments are issues with the various optical processes the film went through. Other than the few moments, the image is flawless. The Dolby Vision manages to imbue the transfer with a luster in the color reproduction only adds to the 60s art deco pop aesthetic. Kino Lorber continues to stun with their work in the 4K realm, bringing visual stunners like Danger: Diabolik to vibrant life.
The Extras
They include the following;
DISC 1 (4KUHD):
Audio Commentary by Actor John Phillip Law, Moderated by Film Historian Tim Lucas
Audio Commentary by Film Historians Troy Howarth and Nathaniel Thompson
DISC 2 (BLU-RAY):
Audio Commentary by Actor John Phillip Law, Moderated by Film Historian Tim Lucas
Audio Commentary by Film Historians Troy Howarth and Nathaniel Thompson
From Fumetti to Film: 2005 Featurette
Body Movin: Music Video by Beastie Boys (with Optional 2005 Commentary by Beastie Boys’ Adam Yauch)
Teaser Trailer
Theatrical Trailer
Theatrical Trailers for Diabolik (2021) / Diabolik: Ginko Attacks (2022) / Diabolik: Who Are You? (2023)
The first of two Audio Commentaries is by Actor John Phillip Law, moderated by Film Historian Tim Lucas opens with introductions before diving into Mario Bava’s work with the visual style and visual effects. Some of the other details include the claim that Bava was aping the style of Batman ’66, but Lucas counters that the Italians and Bava would not have seen the series when they began production in 1967; a discussion of the soundtrack by Mario Bava – the lack of a release of a vinyl, tape, or CD, how the masters are lost and will never see a release, how GQ ranked it among the top movie scores of all time; the origins of the property as a comic book by Angela Giussani and Luciana Giussani; Law thoughts on working with Marisa Mell – including various factoids about the actress by Lucas; the work of art director Flavio Mogherini; the unique situation of how Bava’s set worked and how upfront Bava was about being a visuals first and was not an “actor’s director” – how law reacted to this; how Law came to be cast in the film – how Barbarellaplayed a key part of it; a larger discussion of the various locations and studio sets that the production used; a discussion of two English Language tracks and what separates them; a discussion of Catherine Deneuve who was originally cast in the film; a larger discussion of the various effects employed by Bava to accomplish shots; there is a larger discussion throughout about the various actors that appear in the film, and also if Law has talking points, he makes sure to add them; and much more.
The second of the Audio Commentaries is by Film Historians Troy Howarth and Nathaniel Thompson begin with the duo’s bona fides before dividing into the film, which both have said is one of their favorites. Some of the details include their own first viewings, which leads to a discussion of just how hard it was to find this film; a discussion of the English Dub on the original VHS and Laserdisc releases in the 1990s, and why this new Dub occurred; a discussion of the compromise between Bava and Dino DeLaurentiis on the film, which leads to discussion of the edits made and how much the film does get away with; the influence of the film – including a discussion of the Beastie Boys Body Movin’music video; the work of both John Phillip Law and Marisa Mell, including the love affair they had during the production; the scene that ended up getting Catherine Deneuve – which leads to a discussion of actor Marisa Mell who replaced Deneuve; a discussion of the work and career of Mario Bava; the development of the film from comic to screenplay to finished film – and the various issues Bava faced with making the film with DeLaurentiis and what the film ended up being; the possibility of a sequel and the reasons it wasn’t made; a discussion of the various iterations and the films/books/comics that inspired this film; a larger discussion of the visual composition and style throughout the track; a larger discussion of the various actors that appear in the film; a larger discussion of the various actors that dubbed and didn’t dub their own voices; and much more.
Danger Diabolik: From Fumetti to Film (20:24) – this archival featurette looks into the making of the film, director Mario Bava, specifically the featurette counterpoints whether the film is truly campy or a slyly modern film that understands its arched tone. Also discussed is the history of comics in Italy, what separates Danger: Diabolik from other comic book films of the era, and much more. Interviews Comic Book artist and Film Critic Stephen Bissette, musician/film director Adam Yauch, actor John Phillip Law, producer Dino DeLaurentiis, composer Ennio Morricone, and director Roman Coppola.
Body Movin: Music Video by Beastie Boys (with Optional 2005 Commentary by Beastie Boys’ Adam Yauch) (6:39) – Yauch cleverly uses specific clips from the film intercut with his own filmed footage to create this classic video. Note: the music video plays in SD rather than HD.
Commentary track for the Music Video: Yauch discusses not only how he accomplished the music video (including using various shots they used from the film) but what he loves about Danger: Diabolik.
Teaser Trailer (1:06)
Rounding out the special features are trailers for Danger Diabolik (2:24); Planet of the Vampires (2:17); The 10th Victim (2:23); Grand Slam (3:52); Arabesque (3:30); Robbery (1:49); Gambit (1:13); The Thomas Crown Affair (2:05); The Italian Job (3:12); Topkapi (3:50); Diabolik [2021] (1:11); Diabolik: Ginko Attacks [2022] (1:21); Diabolik: Who Are You? [2023] (1:21)
The Final Thought
Kino Lorber has gone above and beyond with this new 4K edition of Danger Diabolik. Highest recommendations!!
John Phillip Law is Diabolik in Mario Bava’s psychedelic romp Danger Diabolik. New to 4K UHD from Kino Lorber.
The Film
Cheeky Bastards.
I was not expecting that. I’m not fully sure what I was expecting from the playfully hipster go-go Danger: Diabolik. It was more a spiritual lover to Roger Vadim’s Barbarella than its relation to anything in director Mario Bava’s filmography.
The film’s lighter-than-air plot of a ne’er-do-well thief (John Phillip Law) and his girlfriend (Marisa Mell) pulling off impossible heists against the impossibly rich to fund their party-heavy lifestyle could only be done in the 1960s. Though sixty years later, there is a punk rock defiant attitude to everything that seems relevantly fresh to the way Diabolik rips off the rich. Even now, audiences can cheer for his exploits as they’re even more relatable than in years prior.
Though the main attraction is its director and the style he brings to the film, one Mario Bava. Bava’s Technicolor visuals are not just stylish and fun, but the trickery involved is a magic trick that brings one back time and time again to watch this film. Similar to the way that one rewatches Ray Harryhausen’s films or Peter Jackson’s films. The trick is the artistry both in the celluloid act of illusion and in the visuals to tell the story.
There is a critique that Bava’s movie is camp or campy … which is lobbed as some sort of dismissive critique. One would be terribly wrong to call Danger: Diabolik campy. Bava’s film is witty and even at times playful with its audience, but it is never camp. That would indicate that it did not know what it was doing or that it wasn’t assured in its purpose. This film completely understands its purpose.
There is one thing for certain. Danger: Diabolik is as confident a piece of style that Mario Bava ever put together. The only shame is that he had such a terrible time making it, we didn’t get at least three more adventures with the dashing thief. We will just have to settle for one perfect one instead.
The Transfer
The all-new HDR/Dolby Vision Master by Paramount Pictures – From a 4K Scan of the 35mm Original Camera Negative is an excellent presentation. It should be noted that there are a few moments where the image is less than stellar. One does have to wonder if these moments are issues with the various optical processes the film went through. Other than the few moments, the image is flawless. The Dolby Vision manages to imbue the transfer with a luster in the color reproduction only adds to the 60s art deco pop aesthetic. Kino Lorber continues to stun with their work in the 4K realm, bringing visual stunners like Danger: Diabolik to vibrant life.
The Extras
They include the following;
DISC 1 (4KUHD):
DISC 2 (BLU-RAY):
The first of two Audio Commentaries is by Actor John Phillip Law, moderated by Film Historian Tim Lucas opens with introductions before diving into Mario Bava’s work with the visual style and visual effects. Some of the other details include the claim that Bava was aping the style of Batman ’66, but Lucas counters that the Italians and Bava would not have seen the series when they began production in 1967; a discussion of the soundtrack by Mario Bava – the lack of a release of a vinyl, tape, or CD, how the masters are lost and will never see a release, how GQ ranked it among the top movie scores of all time; the origins of the property as a comic book by Angela Giussani and Luciana Giussani; Law thoughts on working with Marisa Mell – including various factoids about the actress by Lucas; the work of art director Flavio Mogherini; the unique situation of how Bava’s set worked and how upfront Bava was about being a visuals first and was not an “actor’s director” – how law reacted to this; how Law came to be cast in the film – how Barbarellaplayed a key part of it; a larger discussion of the various locations and studio sets that the production used; a discussion of two English Language tracks and what separates them; a discussion of Catherine Deneuve who was originally cast in the film; a larger discussion of the various effects employed by Bava to accomplish shots; there is a larger discussion throughout about the various actors that appear in the film, and also if Law has talking points, he makes sure to add them; and much more.
The second of the Audio Commentaries is by Film Historians Troy Howarth and Nathaniel Thompson begin with the duo’s bona fides before dividing into the film, which both have said is one of their favorites. Some of the details include their own first viewings, which leads to a discussion of just how hard it was to find this film; a discussion of the English Dub on the original VHS and Laserdisc releases in the 1990s, and why this new Dub occurred; a discussion of the compromise between Bava and Dino DeLaurentiis on the film, which leads to discussion of the edits made and how much the film does get away with; the influence of the film – including a discussion of the Beastie Boys Body Movin’music video; the work of both John Phillip Law and Marisa Mell, including the love affair they had during the production; the scene that ended up getting Catherine Deneuve – which leads to a discussion of actor Marisa Mell who replaced Deneuve; a discussion of the work and career of Mario Bava; the development of the film from comic to screenplay to finished film – and the various issues Bava faced with making the film with DeLaurentiis and what the film ended up being; the possibility of a sequel and the reasons it wasn’t made; a discussion of the various iterations and the films/books/comics that inspired this film; a larger discussion of the visual composition and style throughout the track; a larger discussion of the various actors that appear in the film; a larger discussion of the various actors that dubbed and didn’t dub their own voices; and much more.
Danger Diabolik: From Fumetti to Film (20:24) – this archival featurette looks into the making of the film, director Mario Bava, specifically the featurette counterpoints whether the film is truly campy or a slyly modern film that understands its arched tone. Also discussed is the history of comics in Italy, what separates Danger: Diabolik from other comic book films of the era, and much more. Interviews Comic Book artist and Film Critic Stephen Bissette, musician/film director Adam Yauch, actor John Phillip Law, producer Dino DeLaurentiis, composer Ennio Morricone, and director Roman Coppola.
Body Movin: Music Video by Beastie Boys (with Optional 2005 Commentary by Beastie Boys’ Adam Yauch) (6:39) – Yauch cleverly uses specific clips from the film intercut with his own filmed footage to create this classic video. Note: the music video plays in SD rather than HD.
Teaser Trailer (1:06)
Rounding out the special features are trailers for Danger Diabolik (2:24); Planet of the Vampires (2:17); The 10th Victim (2:23); Grand Slam (3:52); Arabesque (3:30); Robbery (1:49); Gambit (1:13); The Thomas Crown Affair (2:05); The Italian Job (3:12); Topkapi (3:50); Diabolik [2021] (1:11); Diabolik: Ginko Attacks [2022] (1:21); Diabolik: Who Are You? [2023] (1:21)
The Final Thought
Kino Lorber has gone above and beyond with this new 4K edition of Danger Diabolik. Highest recommendations!!
Kino Lorber’s 4K UHD Edition Danger: Diabolik is out now.
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