This second screen adaptation of the popular fumetto character (seen previously in 1966's Kriminal) is a marginally better followup, if because it succeeds more in the lighthearted approach than its predecessor, despite the nefarious acts onscreen. The scene where Kriminal and his wife plot to kill each other is treated in a tongue-and-cheek way that Hitchcock would have admired. It also more succeeds in capturing the flavour of a fumetto, with its bright warm colours, and sporadic insertion of comic strip panels. Whereas the original film used them only at the end, (one assumes) to lazily wrap up the story, this film uses them to display thought balloons, to cannily visualize what cannot be filmed.