PHENOMENALITY: *marvelous*
MYTHICITY: *good*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTIONS: *psychological, sociological*
In my review of the first FANTOMAS
book, I gave the novel a rating of high mythicity. However, this was
less because of the character of Fantomas than in response to the way
other characters reacted to his criminal capers. Based on the first
book, and on the handful of films I’ve seen, I don’t really see
that particular supercrook’s appeal.
I have not read any of the original
DIABOLIK comics, but the 1968 film-adaptation—at least partially
based on original comics-stories—is a very different story. Of all
the European feature-films that either adapted comics-features or
just flirted with elements of the medium, DANGER DIABOLIK is the most
successful.
It’s also one of the most successful
films by director Mario Bava, who’s also credited as a scriptwriter
on the project. Bava’s excellent design-sense wasn’t always
matched by the scripts he either wrote or inherited. But even though
DANGER was derived from three separate Diabolik stories—the film’s
script never seems choppy or forced. I surmise that Bava, or someone
else involved with the script, chose to use stories with a common
theme: the attraction of money.
Of course, all films about thieves,
gentlemanly or otherwise, involve money as a goal. DANGER, however,
invokes “money as a myth.” Diabolik (John Philip Law) flies in
the face of the thief who tries to avoid detection by committing at
least some crimes in a cowl and bodysuit—but he never seems
motivated merely by sheer gain. After Diabolik’s first crime, when
he rips off a shipment of cash, he takes the loot to his underwater
hideout. Then he and his cohort/girlfriend Eva (Marisa Mell) spread all of
the bills onto a bed and make love amid them. It’s the adults’
version of Uncle Scrooge swimming through his horde of coins and
cash, and there’s no mention as to what either Diabolik or Eva will
use the cash for—if indeed they use it for anything but lovemaking.
One interesting consequence of
Diabolik’s scandalous success is that his nemesis Inspector Ginko
(Michel Piccoli) receives extraordinary powers to bring the master
thief to justice. This power allows Ginko to put pressure on real,
hardened criminals, so that he can extort one of the worst, Valmont
(Adolfo Celi), into capturing Diabolik. The gangster uses his
contacts to find and capture Eva, the better to maneuver Diabolik to
his demise. However, in a dramatic turnabout Diabolik forces Valmont
to come with him in rescuing Eva. Valmont tries to escape, but even
when Diabolik shoots the evildoer, the master thief works money into
the equation—for he shoots Valmont full of stolen emeralds, and
later harvests the loot from the crook’s dead body.
DANGER is replete with other fine
set-pieces, to say nothing of sporting one of composer Ennio
Morricone’s best scores. But nothing surpasses the ending, in which
the forces of law and order appear to triumph, and Diabolik is
apparently entombed in a deluge of liquid gold. Yet the film
promises that the apparently dead thief will rise and rob again—and
though there were no Diabolik sequels, the character remains as alive
as the viewer’s fantasy of stealing with the utmost style.
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