Starting from a fairly common inspiration, we see Dr. Marnie Bannister (Magda Konopka) kill a scientist to recover the formula for a potion that brings new youth. She then becomes the young and beautiful Satanik. Then Dr. Bannister transforms into Satanik after drinking the potion: not only does she change her appearance, but the potion also changes her clothes and covers her with makeup and false eyelashes. Police Inspector Trent (Julio Peña) and Commissioner González (Armando Calvo) and on their heels. Based on the fumetti of Magnus and Max Bunker, highlighting Satanik's vengeful personality, his thirst for revenge against those who have wished him harm. A true heroine of evil, although her name is never spoken!
After the success of Fantomas and later Danger Diabolik, an adaptation of fumetti (Italian comic) and others, the producers felt that they had to continue with the vein. Until 1970, Italian screens were flooded with masked heroes, from the two Kriminales, the most extravagant ones like Superargo vs Diabolikus and Baba Yaga, to the parody Arriva Dorellik, an unequivocal sign of the end of a cycle. These films were entertaining and fun with twisted plots that combined a Mexican-type masked wrestler with the James Bond-style European spy subgenre. The heroines were missing, which is why Satanik appeared on the screen. It is a somewhat monotonous adaptation based on comics, known in Italy as Fumetti, based on a script in which elements from the previous films intervene here and there. Kriminal's cinematic counterpart, Satanik, addresses a theme of physical transformation that we have already seen in theaters through B movies like Wasp Woman and Leech Woman. Mixing here the classic myths of Dr. Jekyll and Mr. Hyde or even the Picture of Dorian Gray, but counting on the pragmatism of the authors of transalpine comics, who allow themselves the transgressive power that modern times offer, we have the right to excesses without precedents. . But unfortunately this adaptation is of mediocre quality, because Satanik suffers from comparison with Danger Diabolik and, unfortunately, is of less interest. It must be taken into account that in France fumetti is also known as "Demoniak", Satanik being the French version of the Italian "Killing".
It is the qualitative and creative opposite of Fantomas, the film inevitably belongs to the criminal genius genre. There is a certain imbalance during the 81 minutes, as if the authors had wanted to suddenly precipitate the action and quasi-eroticism of the end of the film. Between the decisions of an apathetic police force and the lack of real stakes, director Vivarelli fails to give depth to the film. Apart from deliberate or unintentional atrocities, such as The sensuality, mystery, danger and symbiosis that emanated from the adventures of the Diabolik/Eva Kant couple, for example, are almost absent here. Even the absence of morality, which is also a big part of fumetti's charm, is cemented as a lesson in virtue for the audience. Satanik's seductive outfits and vague zooms of him don't make much of an impression and the film ends up being a parable about waste. Instead of transcending the pop material, the film embraces a linearity and little imagination in the images that will disappoint more than one. Aside from a fun striptease scene and the rarity of the product for lovers of vintage Italian cinema from the '60s, Satanik may not excite many people.
There is atmospheric retro-pop-lounge music by Manuel Parada , which will delight fans, some unconventional images and along with the inevitable flamenco scene (mandatory Spanish co-production), adding endless jazz pieces. Produced by Eduardo Manzanos Brochero, who wrote/financed several Spanish-Italian co-productions. Manzanos built a small western town in Hoyo De Manzanares (Madrid) where shot uncountable Spaghettis with sets by Jaime Pérez Cubero and José Luis Galicia, who were also in charge of Satanik's sets. To play Satanik, Vivarelli turns to the beautiful Magda Konopka, who, coincidentally or not, bears a certain resemblance to Marisa Mell, who plays Eva Kant in Danger Diabolik. Like the countless shooting stars of popular cinema, he had his moment of glory in the particularly rich decade of 1965/1975. Satanik is probably his most striking work, although we already saw it in the credits of ¨When the Dinosaurs Ruled the Earth¨, ¨Lucky Luciano¨ and the classic Spaghetti ¨The Blind Man¨, before slowly sliding through its twilight, sailing between light thrillers as ¨Diabolicamente...Letizia¨ and subgenres like Nunsploitation, softcore and cheap Giallos. Here, she carries out the task with class and firmness, giving Bannister/Satanik different personalities, and co-stars Spaniards like Julio Peña as a bloodhound police inspector, Antonio Pica and former 1940s heartthrob Armando Calvo.
The film was average but professionally directed by Piero Vivarelli. At times using pseudonym Donald Murray, only had limited resources at his disposal, and we're left with a fairly flat and unengaging adventure that often seems to be little more than a standard crime movie with a comic book character attached. He also tried his luck with Mister X , but that project still suffered from some of the same shortcomings and failures. A screenwriter since the early 1950s, Vivarelli stepped behind the camera in 1960 for a very opportunistic San Remo La grande Sifida, about the San Remo Song Festival. Passing the stage of collaborating on the script for Django, he also posted Emanuelle in America, Emanuelle Nera: Orient Reportage, and directed some secondary films such as El Dio serpente, El Decameron negro, La Rumbera, Provocazione. And Piero makes a small appearance here under the guise of Inspector Leduc. For the curiosities of the credits, it is Benito Mussolini's son who produced the film and the assistant director is none other than Pupi Avati. The film was a public and critical failure, and it's easy to see why in retrospect.
After the success of Fantomas and later Danger Diabolik, an adaptation of fumetti (Italian comic) and others, the producers felt that they had to continue with the vein. Until 1970, Italian screens were flooded with masked heroes, from the two Kriminales, the most extravagant ones like Superargo vs Diabolikus and Baba Yaga, to the parody Arriva Dorellik, an unequivocal sign of the end of a cycle. These films were entertaining and fun with twisted plots that combined a Mexican-type masked wrestler with the James Bond-style European spy subgenre. The heroines were missing, which is why Satanik appeared on the screen. It is a somewhat monotonous adaptation based on comics, known in Italy as Fumetti, based on a script in which elements from the previous films intervene here and there. Kriminal's cinematic counterpart, Satanik, addresses a theme of physical transformation that we have already seen in theaters through B movies like Wasp Woman and Leech Woman. Mixing here the classic myths of Dr. Jekyll and Mr. Hyde or even the Picture of Dorian Gray, but counting on the pragmatism of the authors of transalpine comics, who allow themselves the transgressive power that modern times offer, we have the right to excesses without precedents. . But unfortunately this adaptation is of mediocre quality, because Satanik suffers from comparison with Danger Diabolik and, unfortunately, is of less interest. It must be taken into account that in France fumetti is also known as "Demoniak", Satanik being the French version of the Italian "Killing".
It is the qualitative and creative opposite of Fantomas, the film inevitably belongs to the criminal genius genre. There is a certain imbalance during the 81 minutes, as if the authors had wanted to suddenly precipitate the action and quasi-eroticism of the end of the film. Between the decisions of an apathetic police force and the lack of real stakes, director Vivarelli fails to give depth to the film. Apart from deliberate or unintentional atrocities, such as The sensuality, mystery, danger and symbiosis that emanated from the adventures of the Diabolik/Eva Kant couple, for example, are almost absent here. Even the absence of morality, which is also a big part of fumetti's charm, is cemented as a lesson in virtue for the audience. Satanik's seductive outfits and vague zooms of him don't make much of an impression and the film ends up being a parable about waste. Instead of transcending the pop material, the film embraces a linearity and little imagination in the images that will disappoint more than one. Aside from a fun striptease scene and the rarity of the product for lovers of vintage Italian cinema from the '60s, Satanik may not excite many people.
There is atmospheric retro-pop-lounge music by Manuel Parada , which will delight fans, some unconventional images and along with the inevitable flamenco scene (mandatory Spanish co-production), adding endless jazz pieces. Produced by Eduardo Manzanos Brochero, who wrote/financed several Spanish-Italian co-productions. Manzanos built a small western town in Hoyo De Manzanares (Madrid) where shot uncountable Spaghettis with sets by Jaime Pérez Cubero and José Luis Galicia, who were also in charge of Satanik's sets. To play Satanik, Vivarelli turns to the beautiful Magda Konopka, who, coincidentally or not, bears a certain resemblance to Marisa Mell, who plays Eva Kant in Danger Diabolik. Like the countless shooting stars of popular cinema, he had his moment of glory in the particularly rich decade of 1965/1975. Satanik is probably his most striking work, although we already saw it in the credits of ¨When the Dinosaurs Ruled the Earth¨, ¨Lucky Luciano¨ and the classic Spaghetti ¨The Blind Man¨, before slowly sliding through its twilight, sailing between light thrillers as ¨Diabolicamente...Letizia¨ and subgenres like Nunsploitation, softcore and cheap Giallos. Here, she carries out the task with class and firmness, giving Bannister/Satanik different personalities, and co-stars Spaniards like Julio Peña as a bloodhound police inspector, Antonio Pica and former 1940s heartthrob Armando Calvo.
The film was average but professionally directed by Piero Vivarelli. At times using pseudonym Donald Murray, only had limited resources at his disposal, and we're left with a fairly flat and unengaging adventure that often seems to be little more than a standard crime movie with a comic book character attached. He also tried his luck with Mister X , but that project still suffered from some of the same shortcomings and failures. A screenwriter since the early 1950s, Vivarelli stepped behind the camera in 1960 for a very opportunistic San Remo La grande Sifida, about the San Remo Song Festival. Passing the stage of collaborating on the script for Django, he also posted Emanuelle in America, Emanuelle Nera: Orient Reportage, and directed some secondary films such as El Dio serpente, El Decameron negro, La Rumbera, Provocazione. And Piero makes a small appearance here under the guise of Inspector Leduc. For the curiosities of the credits, it is Benito Mussolini's son who produced the film and the assistant director is none other than Pupi Avati. The film was a public and critical failure, and it's easy to see why in retrospect.