Danger: Diabolik

Nonfiction, Entertainment, Film, Guides & Reviews, History & Criticism, Performing Arts
Cover of the book Danger: Diabolik by Leon Hunt, Columbia University Press
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Author: Leon Hunt ISBN: 9780231851121
Publisher: Columbia University Press Publication: February 20, 2018
Imprint: WallFlower Press Language: English
Author: Leon Hunt
ISBN: 9780231851121
Publisher: Columbia University Press
Publication: February 20, 2018
Imprint: WallFlower Press
Language: English

Danger: Diabolik (1968) was adapted from a comic that has been a social phenomenon in Italy for over fifty years, featuring a masked master criminal—part Fantômas, part James Bond—and his elegant companion Eva Kant. The film partially reinvents the character as a countercultural prankster, subverting public officials and the national economy, and places him in a luxurious and futuristic underground hideout and Eva in a series of unforgettable outfits. A commercial disappointment on its original release, Danger: Diabolik's reputation has grown along with that of its director, Mario Bava, the quintessential cult auteur, while the pop-art glamour of its costumes and sets have caught the imagination of such people as Roman Coppola and the Beastie Boys.

This study examines its status as a comic-book movie, including its relation both to the original fumetto and to its sister-film, Barbarella. It traces its production and initial reception in Italy, France, the U.S., and the UK, and its cult afterlife as both a pop-art classic and campy "bad film" featured in the final episode of Mystery Science Theatre 3000.

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Danger: Diabolik (1968) was adapted from a comic that has been a social phenomenon in Italy for over fifty years, featuring a masked master criminal—part Fantômas, part James Bond—and his elegant companion Eva Kant. The film partially reinvents the character as a countercultural prankster, subverting public officials and the national economy, and places him in a luxurious and futuristic underground hideout and Eva in a series of unforgettable outfits. A commercial disappointment on its original release, Danger: Diabolik's reputation has grown along with that of its director, Mario Bava, the quintessential cult auteur, while the pop-art glamour of its costumes and sets have caught the imagination of such people as Roman Coppola and the Beastie Boys.

This study examines its status as a comic-book movie, including its relation both to the original fumetto and to its sister-film, Barbarella. It traces its production and initial reception in Italy, France, the U.S., and the UK, and its cult afterlife as both a pop-art classic and campy "bad film" featured in the final episode of Mystery Science Theatre 3000.

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