Superargo Versus Diabolicus (1966; Nick Nostro)

Unlike most Italian superheroes, Superargo doesn’t seem to have any other “normal” human identity, much like the wrestling superhero Santo persona in Mexican films. And speaking of Santo, this movie also begins in the ring, as Superargo is first seen as a wrestling superstar, who accidentally kills his opponent El Tigre during a match. Disgraced from the wrestling profession, he is enlisted by the government to use his strength for good.

Superargo Versus Diabolicus was long a UHF late-night favourite (airing frequently on our own CKVR back in the good old days), but it may be hard to understand its appeal at first. After the tragic opening, and swirling psychedelic opening credits that surely capture the spirit of its era, there is a solid half-hour of exposition, where Superargo gets his bulletproof suit and goes through numerous endurance tests, before we see our hero get to do anything. 

Giovanni Cianfriglia began the movies as a stunt double for Steve Reeves for Hercules, and as a stuntman for numerous productions. With the Americanized name of “Ken Wood”, he acted in numerous pepla and spaghetti westerns in the 1960s. Arguably, his best remembered role is the scarlet-garbed Superargo. And because he’s behind a mask for the entire film, minus one brief scene where he removes it for his girlfriend Lidia (Monica Randall) with his back turned to the camera, thesping isn’t a huge requirement, but looks great all the same.

Superargo eventually infiltrates the island lair of Diabolicus (Gerard Tichy), who has been stealing uranium for his dastardly deeds, and is put through another series of endurance tests before he wreaks vengeance on Diabolicus and his cohorts. 

Despite all the ingredients of superheroes and villains in elaborate costumes, and great gadgets (TV cameras in brooches, video communications in Superargo’s car), one is always reminded that being a superhero isn’t so bloody marvellous. This is surprisingly a brooding film where killing is never exploited as escapism. 

Superargo’s girlfriend Lidia is refreshingly portrayed as more than just a decorative role. When required, she’ll easily pick up a gun and fight alongside her man!

Although the pacing is too slow, and the ending is sloppy due to inferior miniature work and confusing editing, this is however a very well-made movie. It has excellent production values, thoughtful direction by Nick Nostro, and beautiful lighting (the use of red and green gels recall the best of Mario Bava). If only they had done away with some of the exposition.