Satanik (1968; Piero Vivarelli)

The creators of the popular fumetto Kriminal, Magnus and Max Bunker, also enjoyed success in another strip featuring an arch villain: Satanik. If Max Bunker was dissatisfied with the big-screen adaptation of Kriminal, one can only imagine his thoughts about this one, as Satanik was transferred even less faithfully to the movies. 

 

Remaining is the central character of aged, heavily scarred scientist Marnie Bannister (played by Magda Konopka), whose lab partner is experimenting on a serum that rejuvenates old tissue (so far untested on humans). She willingly takes the drug herself, kills her fellow scientist in the ordeal, and emerges as a younger more voluptuous woman. However, the serum causes murderous tendencies, and must be re-administered every so often, else she reverts to her previous state. Also intact on the screen is Satanik’s rival, Scotland Yard Inspector Trent (played by Julio Peña), who investigates the trail of bodies surrounding the murder puzzle of mistaken identities.

Otherwise, the only other ingredient translated from the fumetto is Satanik’s black costume, yet it is only onscreen during a dance number! On paper, Bunker’s creation becomes a super-criminal mastermind a la Mabuse. In this film, well, after committing the murders in the lab, she kills and assumes the identity of a nightclub dancer, and flies to Geneva to be with the dancer’s late husband’s brother (who, conveniently, has never met his sister-in-law)! Matters become further complicated when it is learned that the dancer had actually tipped off the husband (a gangster) to the cops, causing the man to be killed in a police raid at his nightclub. 

Even on its own terms, Satanik is a terrible picture. Full of stuttering zooms, shaky uncertain close-ups, aimless pans, it seems incredible that it was made by the director of Mister X, who at least exhibited some competence there. Still, since I’ve voluntarily watched this three times, I confess it does have a strange pulpy appeal, especially in its compelling opening lab sequence, set during a rainy night, offering some memorable atmosphere. Otherwise, its one breakthrough scene of excitement is the nightclub shootout, confusing though it is. The film tiredly lumbers through its shenanigans and exotic locations, allowing the rich jazz score to fill in a lot of the required emotion. (The bossa nova, progressive-tinged suite was scored by jazz musician Romano Mussolini, the youngest son of Benito Mussolini.)

Satanik was once released to R1 DVD by Retromedia, but can probably be found to view online.