Xavf: Diabolik - Danger: Diabolik - Wikipedia

Xavf: Diabolik
Diabolik-italyancha-film-afishasi-md.jpg
Italyancha film afishasi tomonidan Renato Kasaro[1]
RejissorMario Bava
Tomonidan ishlab chiqarilganDino De Laurentiis
Ssenariy muallifi
Hikoya
AsoslanganDiabolik
Angela va Luciana Giussani tomonidan
Bosh rollarda
Musiqa muallifiEnnio Morrikone
KinematografiyaAntonio Rinaldi
TahrirlanganRomana Fortini
Ishlab chiqarish
kompaniya
TarqatganParamount rasmlari
Ishlab chiqarilish sanasi
  • 1968 yil 24-yanvar (1968-01-24) (Italiya)
  • 1968 yil aprel (1968-04) (Parij)
Ish vaqti
105 daqiqa[2]
Mamlakat
  • Italiya
  • Frantsiya[2]
Byudjet£ 200 million
Teatr kassasi265 million funt (Italiya)

Xavf: Diabolik (Italyancha: Diabolik) 1968 yil jinoyat aksion film tomonidan boshqarilgan va hammualliflik qilgan Mario Bava, Italiya hajviy seriyasiga asoslangan Diabolik tomonidan Anjela va Lusiana Jussani.[3][4] Film Diabolik ismli jinoyatchi haqida (Jon Fillip Qonuni ), qiz do'sti uchun keng ko'lamli heistlarni rejalashtirmoqda Eva Kant (Marisa Mell ). Diabolikni inspektor Ginko ta'qib qilmoqda (Mishel Pikoli ), gangster Ralf Valmontni kim shantaj qilmoqda (Adolfo Celi ) uchun Diabolikni ushlash uchun.

Dastlab komikslarni moslashtirish prodyuser tomonidan o'ylab topilgan Tonino Cervi, kim direktorni yollagan Set Xolt va filmni suratga olishga muvaffaq bo'ldi xalqaro qo'shma ishlab chiqarish tarkibiga kiritilgan aktyorlar bilan Jan Sorel, Elza Martinelli va Gilbert Roland. Suratga olingan kadrlarning sifati bilan qo'rqib ketgan, tarqatuvchi Dino De Laurentiis ishlab chiqarish vazifalarini o'z zimmalariga oldi va filmni noldan qayta boshladi. Yangi ssenariydan ishlagan va De Laurentiisning ijodiy bosimi ostida Bava filmni arzonlashtirilgan byudjet asosida suratga oldi va belgilangan aktyorlar kichikroq rollarni ijro etishdi. Film De Laurentisning o'sha yilgi boshqa chiziq romanlarini moslashtirish bilan birgalikda ishlab chiqarilgan, Barbarella, ikkala filmda ham bir nechta aktyorlar va ekipaj a'zolari baham ko'rishgan.

Teatrlashtirilganidan so'ng, Xavf: Diabolik kassada De Laurentiis kutgan natijalar ostida ijro etildi va salbiy sharhlarni oldi The New York Times va Turli xillik. Bava filmografiyasini qayta baholash bilan, filmni retrospektiv qabul qilish ijobiyroq bo'ldi, tanqidchilar uning ingl., Law va Mell-ning chiqishlarini va natijalarni maqtashdi Ennio Morrikone. Yig'ib olgan a kultga rioya qilish, tomonidan tanlangan Imperiya jurnali 2008 yildagi "Barcha zamonlarning eng buyuk 500 filmi" dan biri sifatida. A yangi moslashuv ning Diabolik tomonidan Manetti Bros. 2021 yil boshida chiqarilishi rejalashtirilgan.

Uchastka

Evropaning Klervil davlatida politsiya inspektori Ginko bankdan 10 million dollarlik transportni olib borishni nazorat qiladi. Usta o'g'ri Diabolik pulni o'g'irlashiga yo'l qo'ymaslik uchun, u bankdan yuk mashinasi chiqindilarni tashiydigan yo'lni boshqaradi, shu bilan o'zi va niqoblangan xodimlar guruhi pulni Rolls-Roys. Rejani hali ham pul va sevgilisi bilan qochib qutulgan Diabolik buzmoqda Eva Kant ular o'zlarining o'ljalari ustida sevib sevishgan er ostidagi yashirin joylariga.

Diabolik va Eva Ichki ishlar vaziri tomonidan qayta tiklanadigan matbuot anjumanida qatnashmoqdalar o'lim jazosi o'zlari kabi jinoyatchilarni yo'ldan ozdirish; ular ozod qilish orqali konferentsiyani buzishadi quvnoq gaz olomon ichiga. Diabolikni topa olmagan Ginko va uning hamkasblari gangster Ralf Valmontning faoliyatiga qarshi kurashishga imkon beradigan favqulodda imtiyozlar berishadi, ular uni qo'lga olishda yordam berishadi. O'smirdan keyin o'z rejalarini amalga oshirish diskoteka u ishlaydi reyd qilingan uning old tomoni bo'lganligi sababli giyohvand moddalar savdosi Valmont Ginko bilan shartnoma tuzadi.

Yangiliklar reportajini tomosha qilayotganda Diabolik Evaning tug'ilgan kuniga Sankt-Just qasridan mashhur Aksand zumraddan yasalgan marjonlarni o'g'irlashga qaror qiladi. Qal'ani tomosha qilayotganini ko'rgan fohishadan Evaning xususiyatlari haqida bilib, Valmont uni quradi va aylantiradi identikit uning qiyofasi. Diabolik politsiya kutib turgan paytda qal'aning ravon devorlarini taroziga solib, marjonlarni o'g'irlamoqda. U qochib ketayotganida haydab ketayotib, Eva bilan politsiyani aldaydi va ko'zgu plyonkasini yo'l bo'ylab kesib o'tib, o'zining aldov aldovlarini ishlatdi; Eva unga tuzoqlarni o'rnatishda yordam berayotganda jarohat olgan.

Uning shaxsiy shifokoriga (Valmont tomonidan shantaj qilingan) tashrif buyurganida, Eva identikit tasviridan tan olinadi va o'g'irlab ketiladi. Uni qutqarish uchun Diabolik Valmont samolyotiga o'g'irlangan 10 million dollar va marjonni Eva bilan savdoga qo'yadi. U samolyotdan chiqarib yuborilgan, ammo Valmontni ilgari qo'ygan bomba portlashidan oldin ushlashga muvaffaq bo'lgan. Diabolik Evkani Ginko va politsiya ularga yaqinlashganda qutqaradi. Eva qochishga majbur bo'ladi, Diabolik esa qurol jurnalini zumrad bilan to'ldiradi va Valmontga o'q uzib, uni o'ldiradi. Keyin u xuddi shunday qiladi o'z joniga qasd qilish sirli olish orqali kapsula. Politsiya Diabolikning o'limi to'g'risida matbuot anjumani o'tkazayotganida, u hayotga qaytgach, Tibet tomonidan qo'llanilgan usul yordamida soxta o'lim bilan o'ldirilgan bo'lishi kerak. lamalar bu antidotni o'n ikki soat ichida berishni talab qiladi; o'zini hamshira sifatida namoyon etib, Eva muvaffaqiyatga erishdi va Diabolikning g'ildiraklari politsiya va matbuot yonidan o'tdi.

Keyinchalik, niqoblangan Diabolik Valmontning jasadi yoqib yuborilgan morgga tashrif buyuradi, zumradni uning kulidan yig'adi va Evaga sovg'a qiladi. Ginko Diabolik hali ham tirikligini anglagach, uni qo'lga olgani uchun million dollar mukofot taklif etiladi; qasos sifatida u soliq idoralarini portlatadi. Sharmanda qilingan Ichki ishlar vazirining - hozirda moliya vazirining iltimoslariga qaramay, fuqarolar soliqlarni to'lashdan bosh tortib, Klervilni qarzga majbur qilishmoqda. Yigirma tonna oltin, valyutani sotib olish uchun ishlatiladigan, o'g'irlashni qiyinlashtirishi uchun bitta blokda eritiladi; blok Ginko tomonidan boshqariladigan poezdga yuklanadi. Diabolik va Eva temir yo'lda yonayotgan yuk mashinasini qoldirib, poezdni yo'naltirishadi va uni bomba qo'yilgan ko'prikka yo'naltirishadi. Poezd kelganda u portlab ketadi, oltin esa pastdagi suvga tushadi. Ginko qirg'oqqa suzayotganda, Diabolik va Eva oltinlarni yig'ib, yashirinadigan joylariga qaytishdi.

Oltinlar bo'lgan po'lat tobutni politsiya kuzatib boradi, bu ularga Diabolik yashiringan joyni kuzatishga imkon beradi. Ular oltinlarni kichikroq ingotlarga eritib yuboradigan Diabolikka yopishadilar. Politsiya uni o'qqa tutayotganida, Diabolik eritishni boshqarolmayapti va butun g'or eritilgan oltin bilan qoplangan. Diabolik o'ldirilgan deb taxmin qilinmoqda, uning issiqqa chidamli kostyumi endi qotib qolgan oltin bilan qoplangan. Politsiya g'orni yopib qo'ydi, keyinroq oltinni qaytarib olishni niyat qildi. Ginko uni hibsga olish uchun kelganida, Evaga Diabolikka hurmat bilan qarashga ruxsat beriladi.

Cast

Diabolik Eva Kantga Aksand zumradini berishga tayyorlanmoqda.

Ishlab chiqarish

Rivojlanish

Tonino Cervi va Set Xolt

Ishlab chiqaruvchi Tonino Cervi, Italiya Film prodyuserlik kompaniyasi rahbari, taklif qilgan birinchi kishi filmni moslashtirish ning Anjela va Lusiana Jussani "s Diabolik, ning kashshof namunasi fumetti neri subgenre Italiya komikslari.[5] Ushbu davr mobaynida, Andre Xunebelle film Fantomalar mashhur edi.[5] Cervi o'z mahsulotini tasvirlab berishda noaniq bo'lib, bir marta "Menimcha, Diabolik bir nechta rötuşlar bilan kumush ekran uchun g'ayrioddiy belgiga aylanishi mumkin" deb aytdi. Boshqa bir intervyusida u "hozirgi kunda yaxshi film asosida ishlanganligini tan oldi Flash Gordon shov-shuvli muvaffaqiyat bo'lar edi [...], lekin qancha mablag 'kerak bo'lsa Kleopatra. Men kamtarroq narsaga rozi bo'lishim kerak, shuning uchun ham qilyapman Diabolik."[5][6] Cervining boshlang'ich maqsadi ishlab topilgan daromaddan foydalanish edi Diabolik moliyalashtirish antologiya filmi rejissor Federiko Fellini, Ingmar Bergman va Akira Kurosava.[6]

Italiya filmi "Giussanis" nashriyoti Astorina-dan 20 millionga moslashish huquqini oldi lira bilan tarqatish bitimini taklif qildi Dino De Laurentiis.[6] Ushbu bitimga filmni doimiy ravishda tarqatish huquqi evaziga oldindan 100 million lira kerak bo'ladi.[6] De Laurentiis 70 million lirani oshirdi va Italiya, Frantsiya (Les Films Marceau-Cocinor) va Ispaniya (A.S. Film Produccion va Impala) o'rtasida birgalikda ishlab chiqarish shartnomasini tuzdi.[6] Ssenariyning dastlabki loyihalarini hajviy kitob mualliflari yozgan Pier Carpi va Korrado Farina, shuningdek, televizion reklama bilan shug'ullangan.[6] Keyinchalik ushbu loyihalar ssenariy mualliflari Giampiero Bona va Fabrizio Onofri tomonidan qayta ko'rib chiqilgan bo'lib, ularga zo'ravonlikni kamaytirish kerakligi aytilgan.[6] Onofri va Bonaning ssenariysi ham mavjud bo'lgan komediyaga katta ahamiyat berdi Fantomalar.[6] Filmni ingliz rejissyori boshqargan Set Xolt, va aktyorlar tomonidan boshqarildi Jan Sorel Diabolik sifatida, Elza Martinelli kabi Eva Kant va Jorj Raft Diabolikning dushmani sifatida Boylik.[6] Cervining Diabolik va Eva uchun asl tanlovi shu edi Alen Delon (uning maoshi juda katta edi) va Virna Lisi (rejalashtirish ziddiyatlari tufayli kim mavjud emas edi).[7]

Asosiy fotosurat 1965 yil 20-sentabrda Ispaniyaning Malaga shahrida boshlangan, ammo Raft suratga olish joyida kasal bo'lib, o'rniga qo'yilganida to'xtatilgan Gilbert Roland.[6] Cervi va Xoltlarning rejasi bo'yicha De Laurentisning ovozli sahnalarida 29 kunlik interyerlarni suratga olish kerak edi "Dinocittà ", Ispaniyada 17 kun, AQShda ikki hafta va Ispaniyada qo'shimcha hafta.[8] Tasvirga olish 13-noyabr kuni yana to'xtatildi;[6] Xoltnikini ko'rib kundalik nashrlar, De Laurentiis filmning prodyuserligini vaqtincha bekor qildi va "kadrlar badiiy va tijorat nuqtai nazaridan shu darajada past bo'lganligi, shu yo'l bilan davom etish falokat sari borishni anglatishini aniq anglashimiz uchun" ekanligini aytdi.[9][10] 1969 yilgi intervyusida Xolt "film to'xtamadi, puli tugadi. [...] Bu noto'g'ri boshqarilgan va shu sababli film nihoyasiga yetdi va hamma uylariga ketishdi. Hamma hammani sudga berayapti. Men oldim aslida Italiya sahnasini bilganim uchun to'laganman. "[11]

Dino De Laurentiis va Mario Bava

De Laurentiis yangi ssenariy va rejissyor bilan filmni qayta tiklashni filmni saqlab qolishning yagona usuli deb bildi.[9] Boshqa prodyuserlik kompaniyalari De Laurentiis ishlab chiqarishni to'xtatganidan mamnun emasdi, bu esa Les Films Marceau-Cocinor-ning Italiya Film bilan shartnomasini bekor qilishiga olib keldi.[9] A.S. Film Produccion kadrlarni musodara qildi va kompaniyani deyarli bankrot qilgan Italiya Film tomonidan ijaraga olingan kameralar, kostyumlar va qurollarni oldi.[9] Vaqt oralig'ida De Laurentiis o'zining yangi huquqlaridan foydalangan fumetti Diabolikni "Boshqalar singari oqshom" romanidagi bir nechta chiziq roman qahramonlari qatoriga qo'shish orqali, Vittorio De Sica ning segmenti antologiya filmi Jodugarlar uning xotini bosh rollarda Silvana Mangano va Klint Istvud; bu erda Diabolik aktyor Janni Gori tomonidan tasvirlangan.[12]

Kelgusi prodyuserini maqtaydigan yordamchi loyiha sifatida filmni suratga olishga qaror qilish Barbarella - bu ham hajviy seriyani moslashtirish edi - De Laurentiis har ikkala loyiha uchun moliyaviy yordam bilan ishlab chiqarishni qayta boshladi Paramount rasmlari, Marianne Productions kompaniyasidan frantsuz prodyuseri Anri Michaud bilan ikkita filmni birgalikda ishlab chiqarish bo'yicha shartnoma tuzdi va yollandi Mario Bava direktor sifatida[9][13][14] Xabarlarga ko'ra, De Lautentiis va Giussanisga rejissyorning muxlisi bo'lgan Farina taklif qilgan. giallo filmlar va Bava-ning kinofillar va ziyolilar bilan mashhurligi haqida prodyuserga xabar berdi.[15] Bava, shuningdek, De Laurentiis tomonidan moliyaviy jihatdan maqbul direktor deb topilgan Le spie vengono dal semifreddo (ning Italiya versiyasi Doktor Goldfoot va qiz bomba ) tijorat muvaffaqiyatiga erishgan edi.[16]

Yozish va oldindan tayyorlash

Uchun dastlabki davolash Xavf: Diabolik Adriano Barakko tomonidan yozilgan va keyinchalik ssenariy tomonidan yozilgan Brayan Degas va Tudor Geyts, bekor qilingan ijobiy hamkorlik tufayli Bava tomonidan yollangan giallo loyiha Nightmare yig'la (keyinchalik suratga olingan Antonio Margeriti kabi Yosh, yovuzlik va vahshiylik ).[15] Hisobga olingan ssenariy Dino Mayuri, Degas, Geyts va Bava filmning ingliz tilidagi versiyasida va faqat Mayuri va Bavaning italyancha versiyasida,[17] uchta alohida asosga asoslangan edi Diabolik hikoyalar: Sepolto vivo! (tarjima qilish Tiriklayin ko'milgan!) 1963 yil avgustdan, Lotta disperata (Umidsiz jang) 1964 yil martidan va L'ombra nella notte (Tunning soyalari) 1965 yil maydan.[18][19] Degas va Geytsning stsenariysi shu bilan ajralib turardi ishchi nomi ning Goldstrike! tufayli Paramount filmning xalqaro chiqishi uchun muqobil sarlavha sifatida ko'rib chiqilishi kerak fumetti Italiyadan tashqarida kam tanilgan bo'lish;[20] filmning inglizcha nomi Parmountning publitsisti Chak Peynter tomonidan e'lon qilindi Xavf: Diabolik 1967 yil 29-noyabrda.[21] De Lautentiis Degas va Geytsning ishiga shunchalik g'ayratli ediki, u ularni qo'shimcha materiallar bilan ta'minlash uchun yolladi Barbarella.[19][22]

Bava De Laurentiis tomonidan so'nggi filmlarining bir nechta asosiy ekipaj a'zolaridan foydalanishga ruxsat berildi (ya'ni Vampirlarning sayyorasi va O'ldir, bolam, o'ldir ), masalan, uning o'g'li va direktor yordamchisi Lamberto Bava, muharriri Romana Fortini, operator Antonio Rinaldi, va ssenariylar boshqaruvchisi Rosalba Scavia.[23][24][25][26] Filmning badiiy bo'limi rahbarlik qilgan Flavio Mogerini va ikki martalik Oskar g'olib Piero Gherardi: Bava bilan oxirgi marta ishlagan Mogerini Aladdin ajoyibotlari, film uchun javobgar edi masshtabli model Effektlar, Bava ikkala erkakning karerasida ham erta suratga tushgan filmlar uchun to'plamlarni yaratgan Gherardi filmning prodyuseri va liboslari bo'yicha dizayner bo'lgan, Lusiana Marinuchchi unga ikkinchi bo'limda yordam bergan.[26][27] Boshqa ekipaj a'zolari ham kelajakdagi Oskar mukofotiga sazovor bo'lishadi: Karlo Rambaldi, ilgari maxsus effektlarni taqdim etgan Vampirlarning sayyorasi va Diabolikning shaklga mos niqobini yaratdi,[28] uning ishi uchun tan olinishi kerak edi E.T. erdan tashqari, bastakor kabi Ennio Morrikone uchun Nafratli sakkizta.[29][30]

Kasting

Ketrin Denov (rasmda) dastlab rolida suratga olingan Eva Kant, lekin bir hafta davom etgan suratga olishdan so'ng filmni tark etdi va uning o'rnini egalladi Marisa Mell.

Jon Fillip Qonuni ishlab chiqarilganidan keyin De Laurentiis tomonidan yoqtirilishi uchun Diabolik tanloviga taklif qilingan BarbarellaQonun Pygar sifatida suratga olingan edi, texnik qiyinchiliklar tufayli kechiktirildi va rejissyorga imkon berdi Rojer Vadim va uning rafiqasi va yulduzi, Jeyn Fonda, qilish "Metzengersteyn "segmenti O'liklarning ruhlari.[9][31] Bolaligidan komikslarning ashaddiy muxlisi bo'lgan Loun dastlab qahramonlar bilan tanish emas edi Diabolik, va uning xarakterini tushunish uchun bir nechta chiziq romanlarni o'qing, u tayyorgarlik ko'rayotgandek Barbarella.[32] Qahramon yuzining aksariyati qora yoki oq teridan mahkamlangan niqob bilan yashiringanligi sababli, Law Diabolik paydo bo'lishining eng ko'zga ko'ringan tomoni uning qoshlari ekanligini ta'kidladi; u ariza berish orqali rolga tayyorlandi maskara o'ziga tegishli bo'lib, ular bilan turli xil iboralarni etkazishni o'rgatdi. De Laurentiis va Bava bilan uchrashuvda rejissyor "Ah, kvesto Diabolik!" ("Bu Diabolik!"), Qonunda u rolni yutganligini ko'rsatmoqda.[33] Byudjet o'zgarishi belgilangan rol o'ynagan aktyorlarning kichikroq rollarga, shu jumladan rollarga tushishiga olib keldi Adolfo Celi Valmont sifatida, Mishel Pikoli kabi Ginko va Terri-Tomas moliya vaziri sifatida.[9] Uning qobiliyatiga to'sqinlik qiladigan bandligi tufayli dub uning o'zi (Italiya filmlari uchun odatiy ishlab chiqarish uslubida), Terri-Tomasning sahnalari bir kunda suratga olingan va uning suhbati jonli ovoz sifatida yozilgan.[34][35]

Kastingda Eva Kant juda qiyin bo'lgan. Dastlab bu rolni do'stining buyrug'iga binoan noma'lum amerikalik model ijro etishi kerak edi, Gulf + Western (Paramountning o'sha paytdagi bosh kompaniyasi) Prezident Charlz Blyudorn. Louning ta'kidlashicha, model "ajoyib edi, lekin filmda" Salom "deb ayta olmadi" va oxir-oqibat filmni suratga olish uchun ishdan bo'shatildi.[32][33] Vadim De Laurentisga sobiq kelinini tashlashni taklif qildi Ketrin Denov Eva singari.[32] Qonun Bava bu fikrga qarshi ekanligini sezdi va Deneuve bu rol uchun noto'g'ri ekanligini shaxsan his qildi: "Bizning o'rtamizda kimyo yo'q edi. U juda shirin va juda yaxshi aktrisa edi, lekin u shunchaki bu qismga to'g'ri kelmadi";[32] u, shuningdek, "Ketrin bu qismga tayyor bo'lmasligi mumkin edi. U hali qilmagan edi Bel de de Jur. Menimcha, agar u qilgan bo'lsa Diabolik keyin Bel de de Jur, u yanada xotirjamroq bo'lishi mumkin edi va ishlar biroz boshqacharoq bo'lishi mumkin edi. "[27] Bava biograf Tim Lukas buni aktrisa "Eva Kantning obrazida yashash uchun o'ziga xos shaxsini bo'ysundira olmaganligini ta'kidladi. Qon va Denovning suratlari bilan tanishib, buni tasdiqladi. Oq vinil botinka va mini libosda uning maftunkor yulduzi yonida turganida sig'inadigan Muz malikasiga o'xshaydi - bu Eva va Diabolik o'rtasida talab qilinadigan shaxslararo dinamika emas edi. [...] Uning kastingi Diabolikning barcha muhim vakolatlarini yomon susaytirib, filmni butunlay muvozanatdan chiqarib yuborgan bo'lar edi. "[36] 1980-yillarda uning filmdagi ishtiroki to'g'risida so'ralganda, Denov Bava filmni suratga olishdan va kimyo etishmasligidan noroziligini o'ziga jalb qilganini aytdi va "U men haqimda ma'qul narsani topmadi, emas, balki hatto yurgan yo'lim ".[36] Denov bilan bir hafta davom etgan otishmalardan so'ng, Bava va De Laurentislar uning o'rnini almashtirishga qaror qilishdi;[32] rol uchun zarur bo'lgan yalang'ochlikka e'tiroz bildirgan, u Diabolik va Eva o'g'irlagan 10 million dollar ustiga sevishgan sahnani ijro etishdan bosh tortganidan keyin ishdan bo'shatilgan.[27]

Bavaga Evani qayta tiklash imkoniyati berildi va tanlandi Marilù Tolo, keyinchalik u kimni tashlagan edi Roy Kolt va Vinchester Jek.[37] Ilgari aktrisani suratga olgan De Laurentiis Qizlarni o'p va ularni o'ldir va Jodugarlar, Tologa yoqmadi va buning o'rniga Bavaning ikkinchi darajali tanlovini yolladi, Marisa Mell.[32][38] Mellni eslab, Law u bilan uchrashgandan so'ng, "biz hamma narsa yaxshi bo'lishini bilar edik. Biz birinchi kuni bir-birimizning qo'limizga tushdik va bir muncha vaqt o'tgach, ekranda va tashqi aloqalarda juda yaxshi munosabatda bo'ldik" deb e'lon qildi.[39] Filmni ishlab chiqarish davomida ikkala rahbar birgalikda yashab, adashgan qorani qabul qildilar mushukcha, ular "Diabolik" ni suvga cho'mdirdilar.[40] Eva o'rnida Mell bo'lganida, Law Bava-ni hamkorlikda, xushchaqchaq rejissyor deb topdi, bu ularga zaifliklarini ifoda etishga va "sehrli daqiqalar" yaratishga imkon berdi.[33] Film tugagandan so'ng, Mell Sorel va Martinelli bilan birga suratga tushdi Lucio Fulci "s giallo Bir-birining ustiga.[41]

Tasvirga olish va vizual effektlar

Xavf: Diabolik hududida qisman otib tashlangan Moviy Grotto.

Xavf: Diabolik filmni 1967 yil 11 aprelda boshlagan,[18] va Dinocittà, a Fiat Turindagi o'simlik Moviy Grotto yilda Kapri va Rimda joylashgan joyda va Anzio.[25][42] 1970 yilgi intervyusida Luidji Kozzi, Bava filmni "kobus" deb ta'riflagan va De Laurentis unga filmdagi zo'ravonlik sahnalarini ohangdor qilganini aytgan.[18] Qonun prodyuser va rejissyorning film uchun qarama-qarshi g'oyalari borligini izohladi: De Laurentiis oilada do'stona filmni maftunkor o'g'ri bilan birga suratga olmoqchi edi. Raffles,[15] Bava esa hajviy kitoblarga sodiq film suratga olmoqchi edi.[18] Lamberto Bava otasining prodyuser bilan munosabatlari umuman yaxshi bo'lsa-da, De Laurentisning boshqa filmlarga bo'lgan majburiyatlari tufayli tez-tez qatnashmayotganidan xafa bo'lganini esladi.[43] Xavf: Diabolik filmni 1967 yil 18 iyunda tugatgan.[18] Qonunda filmning ishlab chiqarilishi tugaganidan ko'p o'tmay suratga olish ishlari boshlanganligi aytilgan Barbarella.[44] Bu xuddi shu to'plamlarga, masalan, Valmontning o'spirin uchun to'plamga olib keldi diskoteka, ikkala filmda ham foydalanilmoqda.[44]

Filmni Degas va Geytsning asl nusxasi bilan taqqoslaganda Goldstrike! ssenariysi (1966 yil 5-dekabrda), Lukas ssenariyda filmda ko'rsatilmagan tafsilotlarni, masalan Diabolik filmning bosh rejissyori sifatida ishtirok etishini ta'kidlaydi. 1963 yil Buyuk poezdlarni talon-taroj qilish (havola Yuliy Yo'q ning o'g'irlanishi nazarda tutilgan Vellington gersogi portreti yilda Doktor Yo'q ), suratga olinganlarga nisbatan boshqacha tarzda namoyish etilgan ketma-ketliklar va umuman Bava ixtirosi bo'lgan sahnalar etishmayapti.[20] Ushbu farqlar orasida politsiya avtoulovi korteji hamrohligida Rolls-Royce-da naqd pul olib o'tilgan burilish tasvirlangan film bilan taqqoslaganda, oltin tashiydigan zirhli mashinaga tegishli bo'lgan ssenariy ochildi. kazino diskoteka o'rniga Eva mashq qilish Diabolikga tuzoq tuzishda yordam berish o'rniga, moliya vaziri va Ginko o'rtasidagi ikkinchi suhbat televizor orqali jamoatchilikka iltimos bilan almashtirildi va Eva Diabolikning yashirin joyida emas, balki vazirlik zalida oltin bilan o'ralgan tanasiga tashrif buyurdi. Lukas Bavaning ssenariyga kiritilgan ko'plab o'zgartirishlari personajlarni yanada xushyoqar va ishonchli bo'lishiga xizmat qildi, deb hisoblaydi va filmning eng aqlli va unutilmas daqiqalari, masalan, Diabolik va Evaning o'g'irlangan 10 million dollar ustiga muhabbat yaratishi (parodiya Xorst Buxxols qoplama Ketrin Spaak lira yozuvlari bilan yalang'och tanasi Bo'sh tuval )[45] Va Valmontning "[doktor Vernier] ni inson reestridan kesib o'tamiz" degan tahdidi, bu butunlay rejissyorning ijodi edi.[46]

Filmda Bava vizual effektlarining misoli: Diabolikning orqa fonidagi aksariyat manzaralar Jaguar E-Type stakan bilan ifodalanadi mot rasm, shuningdek, yo'lakchani ko'paytiradi (chapda).[47] De Laurentiis ushbu ketma-ketlikdan shunchalik taassurot qoldirdiki, u hazil bilan Paramount-ga rasmni tayyorlash uchun 200 ming dollar sarflangan to'plam ekanligini ma'lum qilishini aytdi.

Lukas, shuningdek, Bava-dan keng foydalanishni tasvirlab berdi vizual effektlar fotosurat Xavf: Diabolik va uning avvalgi filmlarida qo'llanilgan uslublarni amalga oshirish, filmning byudjeti tomonidan ruxsat etilgan darajada yorqinroq bo'lsa ham. Dinocittà yaqinidagi xiyobonda suratga olingan filmning birinchi ketma-ketligiga kelsak, u Bava filmni "illyuziyalar paradi" bilan, ayniqsa, bankning asos solgan kadrlari bilan ochishini aytadi. sayohat qiluvchi mot bu ekranni qarama-qarshi tomoniga nusxalash paytida bir qavatli tuzilishga bir nechta qavatlarni qo'shadigan; matga vizual ravishda qarz berish uchun o'yinchoq haykalchalari inshootning ikkala tomonida turgan askarlarni, o'yinchoq esa tank mototsiklda harakatlanayotgan politsiyachilar korteji kompozitsiyaning pastki qismidagi inshoot darvozasidan o'tayotganda old tomondan ko'rinib turibdi - bu to'plamning aslida qurilgan qismi. U buni "hayratga soladigan oldindanraqamli effekt Va faqat u erda e'tiborga olinmaslik kerak ".[48] Filmda Bava-ning kameradagi mot ishlarining boshqa misollari qatoriga Diabolik uyasi avtoulovi angarini, Sankt-Just qal'asining tashqi qiyofasi kiradi - Tor Kaldara plyajlarida suratga olingan va u shu kabi effektlarni qo'llagan. Erik Fath, Qamchiq va tan, Qasoskorning pichoqlari, Avgust oyi uchun beshta qo'g'irchoq va Roy Kolt va Vinchester Jek - Valmontning uchish-qo'nish yo'lagi (u uchun faqat bitta qanot va samolyot korpusining bir qismi bo'yalgan) va Eva garovga olingan kabin.[43][49][50] Diabolik qal'a devorini taroziga soladigan ketma-ketlik uchun 35 daraja materialning konveks qismi qurilgan burchak, filmni kaskadyorlar koordinatori Gofreddo "Freddi" Unger (uning o'rniga Diabolik portga sho'ng'in paytida uning oldiga ketma-ket kelganida ikki baravar ko'paytirishni) ikki baravar oshirishni hojat qoldirmasdan, "devorga" chiqish huquqini beradigan; sahna bilan otib tashlangan keng burchakli linzalar chuqurlik va balandlik tuyg'usini berish.[51] Diabolik va Evaning oltinni qayta tiklashning suv osti sekanslari a tomonidan otilgan ikkinchi birlik Frantsisko Baldini tomonidan nazorat qilinmoqda yaqin rasmlar Law and Mellning yuzlari akvarium oldida "quruq" holda suratga olingan.[52]

Lukas Bavaning o'ziga xos bo'lmagan usulidan ko'proq tanqid qiladi optik qoplamalar va xroma kaliti effektlar, ularni De Laurentiis tomonidan majburlangan bo'lishi mumkin bo'lgan ishlab chiqarish tomonlari deb hisoblaydi: Diabolik va Valmont ikkinchisining tekisligidan erkin tushish sahnasida Diabolikning oyoqlaridan biri g'ayrioddiy ingichka bo'lib ko'rinadi, chunki yorug'lik nurlari ishlatilgan ko'k ekran shimning oyog'iga orqaga qaytdi.[53] U, shuningdek, ikkita sahnaning sun'iyligiga e'tibor qaratadi, ulardan biri Diabolik Ginko va politsiyani Rolls-Roysni o'g'irlash paytida ularni chalg'itishi uchun rang-barang tutundan foydalanadi, ikkinchisi Diabolik Valmontni telefon kabinasidan chaqiradi. Birinchisida, tutun orqasida harakatni tahrirlash bilan o'zgarmasdan, doimiy ravishda qoplanadi,[54] ikkinchisi esa Diabolik ustiga juda mahkam o'rnatilgan, tomoshabinlar uning joylashgan joyiga ingl. moslasha oladigan darajada mahkamlangan tortishish bilan boshlanadi, va keyinchalik uni tortib olishda uni kattalashtirish fon matiga to'g'ri kelmaydi. Biroq, Lukas ushbu sun'iylik chiziq romanidagi badiiy asarlar tarkibiga ham mos kelishini ta'kidlamoqda.[55] Botqoqlik rassom Stiven R. Bisset Bavaning ramkalari tez-tez chiziq romanlarini taqlid qilishga xizmat qiladi panellar masalan, orqa ko'zgulardagi va kitob javonlari va to'shak ramkalari orqali harakatlarni suratga olish; u shuningdek, Bavaning chuqurlik, ekrandagi harakatlar va kamera harakatidan foydalanishni chiziq romanining o'quvchiga mo'ljallangan ta'siriga yaqinroq deb hisoblaydi, masalan, boshqa zamonaviy zamonaviy talqinlarga nisbatan. BarbarellaBissette badiiy asarning tekisligini takrorlash uchun noto'g'ri urinishlarda murakkab kostyumlar va badiiy yo'nalishni statik ramkalar va harakatlar bilan birlashtirishga e'tiborini qaratdi.[56]

De Laurentiis filmni suratga olish uchun 3 million dollar ajratgan bo'lsa-da, yakuniy byudjet atigi 200 million lirani tashkil etdi.[9][57] Ularning qiyin ish munosabatlariga qaramay, De Laurentiis Bava-ning sa'y-harakatlaridan, ayniqsa, vizual effektlardan katta taassurot qoldirdi va hazilomuz tarzda "Paramount" ga film ortiqcha byudjetga o'tganligini va Diabolik angarining moti aslida 200 000 dollar turadigan to'plam ekanligini aytdi.[43] U ishlab chiqarishdan tejab qo'yilgan pulni zudlik bilan ishlab chiqarishga sarflash kerak deb qaror qildi davomi, ammo Bava rad etdi va prodyuserga "Diabolik [o'ldi]" deb aytdi. Rejissor yana De Laurentiisda yana ikki marotaba ishlaydi: televizion mini-seriallarning ikkita qismida Odisseya u bilan hamkorlikda boshqargan Franko Rossi va boshqalar Sergey Bondarchuk "s Vaterloo, buning uchun u o'zining vizual effektlari uchun ishonchli bo'lmagan.[58] Uning tajribalarini eslashi Xavf: Diabolik Bavani De Laurentiisning maxsus effektlarni taqdim etish taklifini rad etishga majbur qildi King Kong, o'rniga Rambaldini tavsiya qilish.[57]

Musiqa

Morrikonening gollari Xavf: Diaboliktomonidan o'tkazilgan Bruno Nikolay, bastakorning Bava bilan yagona hamkorligi edi va uning bilan ishlaganligi ta'sir ko'rsatdi avangard /bepul improvizatsiya jamoaviy Gruppo di Improvvisazione Nuova Consonanza.[59] Unda qo'shiqchi va aktrisa Mariya Kristina "Kristi" Brancuchchi tomonidan ijro etilgan vokallar bilan "Deep Down" nomli qo'shig'i bor - Morricone bilan boshqa ishlashlari "Run, Man, Run" Katta Gundown va "Men uchun odam" OK. Konneri - bu film davomida turli xil kelishuvlarda paydo bo'ladi. Bu, birinchi navbatda, Evaning Diabolikka bo'lgan sevgisini etkazish uchun ishlatiladi Alessandro Alessandroni ning o'ynashi sitar davomida ko'prik, Diabolikning jinoyatchiligini va Eva bilan munosabatini bir shakl deb taxmin qilmoqda ma'rifat. Harbiy sahnalarda tez-tez ishlatiladigan "ta'qib mavzusi" a ikki tomonlama elektr gitara motif, shuningdek, Alessandroni tomonidan ijro etilgan bo'lib, unda ko'rsatilgan xususiyatlarga o'xshashlik mavjud Nil Xefti "Botmon mavzusi ".[59] Filmning eng eksperimental ko'rsatmalariga quyidagilar kiradi ruhiy jihatdan foydalanadigan diskoteka mavzusi "tovush devori "reverb (o'zgaruvchan nuqtalarda) vokal xorni kuchaytirish va a guruch qismi dan tashkil topgan ritm bo'limi orqali kuyni taqdim etish noaniq gitara baraban to'plami va identikit mavzusi, unda Nikolay tomonidan atonal klaviaturada qo'lbola ijro etilgan.[60] Lukas, Diabolik va Eva yakkaxondan boshlanib, oltinni qaytarib olishda ko'rsatiladigan ko'rsatkich deb hisoblaydi. melisma tomonidan ijro etilgan Edda Dell'Orso, uning o'rnini Alessandronining I Cantori Moderni xori ijro etgan vokal xori va keyinchalik "Morricone xoki bilan yaqinligini his qiladigan rok-guruh akkompaniyasi egallaydi. Spagetti Western ayg'oqchilik muhitida o'zingizni juda yaxshi his qilgan holda ishlang ".[61]

"Deep Down" ning italyan tilidagi versiyasi Parade tomonidan a 45 RPM bitta, asl skor hech qachon to'liq, vakolatli chiqarishni ko'rmagan, chunki asl master lentalari 1970-yillarda omborxonada sodir bo'lgan yong'in natijasida yo'q qilingan. Buning natijasida bir nechta ruxsatsiz rekonstruksiya qilingan ballar chiqarildi CD, ulardan eng keng tarqalgani Pallottola Foroga tegishli bo'lgan versiya bo'lib, u filmdan dialogli ko'chirmalar ham o'z ichiga oladi.[61] 2002 yil mart sonida GQ'"Barcha zamonlarning eng yaxshi 10 film saundtreklari" ro'yxati, Morrikonening natijasi uchinchi o'rinni egalladi.[61]

Chiqarish

Xavf: Diabolik 'Italiyada s chiqishi kutilgan edi va bu De Laurentisning nomlari unga o'xshash filmlar prodyuserlarini sudga berish bilan tahdid qilishiga olib keldi, masalan. Diabetikaga qarshi Superargo va Arriva Dorellik.[62] Xavf: Diabolik 1967 yil dekabr oyida Italiya tsenzurasi kengashiga taqdim etilgan va filmga beshta qisqartirilganidan so'ng, u Italiyada 1968 yil 24 yanvarda namoyish etilgan.[18] Filmni tarixchi Roberto Kurti filmni "De Laurentiis uchun moliyaviy ko'ngilsizlik" deb atagan, uning daromadi 265 million liradan sal ko'proq.[62] Bu sarlovhasi bilan 1968 yil aprel oyida Parijda ochildi Xavfli Diabolik.[63]

Qo'shma Shtatlarda, Xavf: Diabolik birinchi bo'lib 1968 yil avgustda chiqarilgan,[64] va o'sha yilning dekabrida Nyu-Yorkda ochilgan.[63] Film davomida katta kinoteatrlarda o'ynadi birinchi yugurish, dastlab a ikki baravar bilan 5 Card Stud, keyinchalik uni singlisi ishlab chiqarishi bilan birlashtirgan keyingi namoyishlar Barbarella yoki boshqa Paramount filmlari, shu jumladan Rozmarinning chaqalog'i, To'polon va Suv qudug'i # 3; birinchi navbatda a deb hisoblansa ham qo'llab-quvvatlovchi xususiyat Paramount tomonidan mamlakatning ayrim hududlarida ijobiy holat tufayli A-film maqomiga ko'tarilgan og'zaki so'z. Rezervasyonlar kamayganligi sababli, qo'llab-quvvatlash uchun tartibga solindi ekspluatatsiya filmlari da tegirmon uylari va haydovchilar, kabi Yashashni to'xtatgan va aralash zombi bo'lgan ajoyib g'alati mavjudotlar va Qon marosimlari, noaniqlikka tushishdan oldin.[64] Buyuk Britaniyada, Xavf: Diabolik'ning chiqarilishi 1969 yil 19-yanvargacha kechiktirildi va asl nusxalar bilan taqqoslaganda 17 daqiqaga qisqartirilgan versiyada namoyish etildi.[25][65]

Uy ommaviy axborot vositalari va televidenie

Ingliz tilidagi ikkita dub Xavf: Diabolik ishlab chiqarilgan,[42] ikkalasi ham Qonun, Mell va Terri-Tomasning ovozlari bilan.[66][67] Filmning teatrlashtirilgan, DVD va Blu-ray chiqishlari uchun ishlatilgan ingliz tilidagi asl nusxasi, asosan ingliz tilidagi aksanlar bilan dublyaj qilingan qolgan aktyorlarni taqdim etdi,[42] va ovozlarini o'z ichiga olgan Dan Sturki [de ] va Bernard Grant mos ravishda Ginko va Valmont sifatida.[68][69] Film uchun ishlatilgan ikkinchi versiya VHS va LaserDisc relizlar, dublyaj qilingan versiya uchun asl tovush elementlari (yuqorida aytib o'tilgan uchta ijrochidan tashqari) yo'qolgan deb hisoblanganda yaratilgan;[66][67] ingliz tilida so'zlashmaydigan aktyorlar asosan amerikalik aksanlar bilan dublyaj qilingan,[42] va Richard Jonson ushbu versiya uchun ovozli aktyorlar qatoridan joy olgani xabar qilingan.[70] Ushbu versiya, shuningdek, ovoz effektlari va musiqa uchun audio darajalarni katta darajada remiks qildi va tushib ketdi Xavfli: italyancha nashrdan foydalanganligi sababli ingliz tilidagi asl nusxasidan. Glenn Erikson ikkinchi ingliz tilidagi versiyasini asl nusxaga nisbatan "dahshatli" deb hisoblaydi, xususan Celi va Piccoli-ning chiqishlarini yangi dublyajlarning past darajadagi aktyorligi salbiy ta'sir ko'rsatdi.[66][67]

Filmdan olingan kadrlar 1998 yilda keng namoyish etilgan musiqiy video uchun Fatboy Slim remiksi "Badan Movin ' "Amerikaning hip-hop guruhi tomonidan Beastie Boys, avvalgi musiqiy videofilmlari ko'pincha janr parodiyasi va shunga o'xshash asarlarning hurmatlari sifatida xizmat qilgan kaiju filmlar va politsiya namoyishlari.[71] Ushbu kadrlar yangi materiallar bilan aralashtirilgan bo'lib, ular Bava filmidagi ko'plab uslublar yordamida yaratilgan, Diabolik tasvirlangan (tasvirlangan Ad-Rok ) hazil bilan o'g'irlashga urinish a fondu yomon odamning retsepti (Adam Yauch ) va uning butler (Mayk D. ).[72] Shuningdek, videoni o'zining "Natalien Xörnblower" taxallusi ostida suratga olgan Yauch filmni "qarorgoh qaysidir ma'noda, ammo yomon tomondan emas "va aktyorlik va rejissyorlikni" kulgili "deb topdi, lekin" aniqlik bilan tepada aktyorlik mos keladi ";[73][74] u filmning jozibasi, aksincha, Diabolikning jinoyatchi sifatida tasvirlanishida deb o'ylagan superqahramonlar aksariyat hajviy filmlar moslashuvi.[75]

Ikkinchi inglizcha versiyasi the final epizodida namoyish etildi Ilmiy-fantastik kanal mujassamlash Sirli ilmiy teatr 3000 (MST3K), 1999 yil 8-avgustda namoyish etilgan eskizlar bilan kesilgan B-filmlar ustidan istehzoli sharhlarni taqdim etuvchi serial.[73][76][77] Lukas shouning tanlanishini va filmga ishlov berilishini tanqid qilib, "Dasturda haqorat va lampun uchun bunday bajarilgan film alohida ajralib turishi, uning tegishli yemi tugaganligini ko'rsatdi" deb ta'kidladi.[78]

Xavf: Diabolik kuni ozod qilindi DVD tomonidan Paramount Home Entertainment 2005 yil 14 iyunda; ushbu nashr Kim Aubri tomonidan ishlab chiqarilgan Amerika zoetropi, asl ingliz tilidagi versiyasi uchun audio ustalarini tiklash uchun mas'ul bo'lgan.[66][79] DVD tarkibiga asl teatr teaserlari va treyleri, Law va Lukas ishtirokidagi audio sharh, "Body Movin '" musiqiy video (Yauch bilan ixtiyoriy audio sharhlar kiritilgan) va Xavf: Diabolik - Fumettidan filmgacha, Bissette, Law, De Laurentiis, Morricone, Yauch va kinorejissyor ishtirokidagi filmni qadrlash Rim Koppola.[79] Diskning sharhlari Cinefantastique, DVD munozarasi va Video kutubxonachi yuqori sifatli raqamli uzatishni va qo'shimcha funktsiyalarning ko'pligini ta'kidlab, chiqarishni maqtadi.[80][81][66] Ushbu DVD endi bosmadan chiqdi.[82]

Baqir! Zavod ozod qildi MST3K filmning 2017 yil 21 noyabrdagi DVD seriyasining 39-jildining bir qismi bo'lgan versiyasi;[83] Paramount litsenziyasi asosida kompaniya filmning asl nusxasini chiqardi Blu ray AQShda 2020 yil 19 mayda.[84] Ushbu nashr Paramount-ning DVD-dagi barcha o'ziga xos xususiyatlarini, shuningdek, kino tarixchilari Troy Xovart va Nataniel Tompson bilan yangi audio sharhni o'z ichiga oladi.[85] Blu-ray.com, DVD Beaver va 10,000 Bullets sharhlari filmning uyga qaytishini umuman olganda maqtashdi, ammo ishlatilgan video uzatish asosan DVD bilan bir xil bo'lganligini ta'kidladilar.[86][87][88] Via Vision Entertainment tomonidan ularning Imprint Films bo'limi tomonidan tarqatilgan Avstraliya bozori uchun Blu-ray 28 oktabrda chiqdi va DVD-ning o'ziga xos xususiyatlarini o'z ichiga olgan, Lukas bilan qayta yozilgan sharh va tanqidchi va tarixchi Katning eksklyuziv video inshosi bilan birga. Ellinger.[89]

Qabul qilish

Zamonaviy

Dastlabki chiqarilishidan so'ng, Xovard Tompson ning The New York Times qisqacha salbiy sharh berdi Xavf: Diabolik, filmni "infantil axlat" deb atagan.[90] Turli xillik "salbiy Dino De Laurentiis dasturchisi" deb nomlangan "salbiy", "[b] izarre to'plamlari, jarayonning sustligi, statik yozuv va sust yo'nalish kichik harflar bilan buyurtma berish uchun sof formulalar narxini".[91] Keyinchalik qulay sharh keldi Rojer Ebert ning Chikago Sun-Times, u to'rtdan ikki yarim yulduzli reytingni bergan, garchi u film "uzoq va oxir-oqibat o'zini izini yo'qotgan" deb hisoblasa-da, u deyarli "film" deb hisoblagan Barbarella "yaxshi ko'rinishga ega bo'lishi" kerak edi (garchi uning byudjeti kichikroq bo'lsa ham) ", Bavaning" sshlock ekspluatatsiya filmlarida puxta asoslashi "ni ta'kidlab, uning klişelerdan foydalanganligini maqtagan. Shuningdek, u Pikkoli kastingini Ginko rolida topdi. "kulgili narsa yo'q" bo'lish.[92] Britaniyada Devid Xetchison 1969 yil aprel oyidagi sonini ko'rib chiqdi Filmlar va suratga olish, kim filmdan foydalangan deb hisoblagan ayg'oqchi Troplar eskirgan bo'lishi kerak, ammo "kulgili chiziq kinofilm bilan juda ko'p o'xshashliklarga ega; ikkalasi ham alohida rasmlar va yorug'lik, soya, rang va istiqbolning bir xil afzalliklaridan foydalanadi. Bava aniq biladi Natijada va natijada, xatolariga qaramay, odatda ikkalasidan ham muvaffaqiyatli bo'lgan filmlar filmi Kamtarlik Blez yoki Barbarella tushunarsiz kulgili lazzat olish uchun ".[93]

Betti Markus Fort-Loderdeyl yangiliklari g'ayratli bo'lib, filmni "toza ko'ngilochar" deb ta'riflab, "bu filmning hayajonlari va hiyla-nayranglarini qaytarishini ta'kidladi. Obligatsiya filmlari va yuqori lagerli makkajo'xori Botmon televizion seriyalar "va vizual effektlarni" ajoyib "deb topish.[94] In Australia, a review in the September 6, 1968 edition of Yosh called the film "a real surprise, splendid stuff"; aside from noting the influence of Fantomalar va Raffles, it defined the film in the context of Bava's filmography as cinematographer and director, stating that "Xavf: Diabolik demonstrates [Bava's] graphic eye for an image, his fluid camera style and arresting way with colour composition", and that "Although pictures by Bava have been pouring out of Italy for years, I can recall only one or two here - no horror of course, because this genre, which allows him greater scope, is still banned in Australia".[95] The Oylik filmlar byulleteni also gave the film a positive review, noting that: "Bava's superb visual sense stands him in good stead in this comic-strip adventure which looks like a brilliant pastiche of the best of everything in anything from Jeyms Bond ga Mett Xelm."[96] In his 1970 reference book Kinodagi ilmiy fantastika, Jon Baxter deb e'lon qildi "Judex is alive and living at Cinecittà ", praising Bava as a "brilliant cinematographer and one of Italy's finest fantasy film-makers" who gives the film "the visual pace of a streamlined juggernaut", and applauded Law's "dazzling characterization".[93]

Retrospektiv

[Xavf: Diabolik] is more than just an inspired adaptation of the Giussani Sisters' fumetti, a fact that only becomes apparent when one realizes that the original comics stories were published in black-and-white. Diabolik defines the correct color template for this black-and-white character, much as Bava redefined the way horror films were photographed in color earlier in the decade. It's not a colorful study in fright and superstition — the sort of film one associates with Bava — but neither is it an impersonal work; on the contrary, the more one is aware of Bava's total control over the film's design, and the abundance of camouflage and trickery that went into its making, Diabolik reveals itself to be every bit as personal as [Peru dunyosidagi Gerkules ] yoki [Vampirlarning sayyorasi ], if not quite so autonomous a creation.

— Tim Lukas[97]

Xavf: Diabolik'holati a diniy film gradually grew as studies of Bava's career began, and was explored in the DVD featurette From Fumetti to Film, which drew attention to the film's relation to its comic book roots.[98] According to Lucas, the film was generally well-received by contemporary critics and audiences who viewed it in the context of its estrada san'ati aesthetic, but it was disregarded as "not only artificial, but frivolous" by the qarshi madaniyat of the time due to their preference for the realism in Yangi Gollivud kabi filmlar Yarim tunda kovboy, Yovvoyi to'da va Woodstock. He states that its popular reception evolved from being seen as "quaintly campy" in the 1970s, "interesting" in the 1980s, to "fashionable" in the 1990s due to its VHS and LaserDisc release — the result of a successful letter-writing campaign among fans directed at a hesitant Paramount Home Video — coinciding with new trends in lounge musiqasi, style and fashion.[97]

In a 2012 issue of Xalqaro film, John Berra similarly noted that the film had initially "been left to languish in obscurity since its staggered international release at the end of the 1960s" and that it "mostly existed as a kitsch reference point or as an easy target for tongue-in-cheek parody", citing both its MST3K episode and the "Body Movin'" music video as examples.[73][74] Berra described the film as being "warmly received" by the internet community, who routinely embraces comic book adaptations and seeks to adopt films that have been neglected by popular audiences.[98] Lucas identifies the "uncomplicated magnetism" of Law and Mell's onscreen sexual chemistry as one of the primary factors of the film's cult following.[99] Similarly, Kat Ellinger believes that both Xavf: Diabolik va Barbarella reflect trends of the jinsiy ozodlik movement of the 1960s and present a morally ambiguous worldview that stands in contrast to most 21st century comic book film adaptations such as the Marvel kinematik olami, which she described as largely "masculine and jinssiz ".[100]

Jim Vogel ranked the film's MST3K episode at #75 out of 191, calling the series' ending "a fairly satisfying conclusion" and says the movie is "entertaining enough ... it’s hard not to appreciate the Technicolor splendor and absurd costuming."[101] Yozish Nerdist, Kyle Anderson praised both the film and its MST3K episode, describing the former as "boast[ing] some truly psychedelic visuals and impressive action sequences to boot" and the latter as "one of the strongest riffs of the Sci-Fi years".[102]

Glenn Erickson discussed Xavf: Diabolik twice on DVD Talk (in 1998 and 2005);[66][67] filmni a aybdorlik hissi, he praised Bava's stylized visuals, noting his use of bright colours, elaborate sets and wide lenses, "giving almost every shot a distorted depth that lends the film a consistent hajviy kitob dynamism".[67] While noting the minimal characterization of Diabolik himself (describing him as "the final distillation of the idea that we love criminals because we secretly admire the transgressions they represent"), he felt that Marisa Mell's portrayal of Eva presented her as loving Diabolik "on a romantic plane of surprising believability. [...] [Her] adoring faithfulness is so physical and pure that the sincerity of their farewell ("You'll not be alone while I live!") is tenderly affecting."[67] Erickson also admired Terry-Thomas' campy portrayal of the Minister of Interior, describing his news conference as "easily outdo[ing] TV's Botmon." Thematically, he has noted that Diabolik's desire to steal for himself and Eva "represent[s] the ultimate end of materialist consumerism", as well as "the rollercoaster Italian politics of the time, which seemed to flip-flop from konservativ ga sotsialistik and back again on a weekly basis;" like Ellinger, Erickson also mentions that "Diabolik's world stresses strangely fetishistik surfaces and textures, backing up film theorist Raymond Durgnat 's assertion that the psychic land of pulp fantasy is fundamentally a sexual one."[67]

Video kutubxonachi noted that the film was "guaranteed to delight viewers whose tastes run to the outré", praising Ennio Morrikone 's score, Law and Mell's acting, and noting that the "real star is Bava" stating that "the film is colorful almost to the point of garishness."[81] Cinefantastique also discussed the film's visuals, noting that: "[Bava's] color rich, brilliantly artificial-looking compositions were the cinematic equivalent of comic book art even before he tackled the form." The magazine also found that the special effects rivalled those of Bond series veteran Ken Adam.[80] The review also praised Law's work in the film noting his "amazingly expressive eyebrows" and declared the film as "1960s pop-culture heaven."[80] Ignatiy Vishnevetskiy (A.V. Klub ) compared the film to Barbarella, opining that Diabolik had "a sense of infectious, amoral fun" which Barbarella etishmayapti.[82] He declared the film to be among "the definitive touchstones of Euro pulp."[82] Imperiya included the film on its list of the top 500 greatest films. They described the movie as "thin as a poster, but still amazing cinema – a succession of striking, kinetic, sexy, absurd images accompanied by a one-of-a-kind Ennio Morricone score that revels in its casual anarchy."[103]

In later years, Law expressed pride in having been involved in the film. Describing his view on its re-evaluation and fandom, he noted that he read "a book about science fiction movies and seeing a mention of Barbarella va Xavf: Diabolik. The author said that Barbarella was okay, but that Xavf: Diabolik was the masterpiece. I was amazed because, for some years, I'd thought it was probably the other way around. But as time goes on, you know, I can see what he meant. Menimcha Diabolik ehtimol bu the masterpiece".[78]

Meros va ta'sir

Xavf: Diabolik va Barbarella were part of a minor trend of film adaptations of Evropa komikslari that emphasized mild sadomazoxizm and late 1960s fetish gear; aside from these two films, 1968 saw the release of Piero Vivarelli 's similarly-themed Satanik.[104][105] Ulardan keyin Bruno Korbuchchi "s Stiletto xonim in 1969, and Corrado Farina's Baba Yaga 1973 yilda.[104] The look of Diabolik in the film influenced his depiction in the fumetti: because the film's audiences could see Diabolik's mouth due to Law's mask being made out of latex, the series' artists, Enzo Facciolo and Serxio Zaniboni, gave up on trying to shade in his mouth, and simply outlined it.[62][106]

Bilan birga Barbarella, Xavf: Diabolik is one of several genre films that is referenced in Roman Coppola's film CQ, which explicitly pays tribute to several scenes in the film, such as Eva's showering and her lovemaking with Diabolik on top of money; Law also appears in the film in a supporting role.[107] Britaniya rejissyori Edgar Rayt similarly cited it as an influence on his film Scott Pilgrim vs the World, tavsiflovchi Xavf: Diabolik as an "Italian influence, a sense of completely unbridled imagination. They don't make any attempt to make it look realistic. Mario Bava's composition and staging has a real try-anything attitude."[108]

Further films, TV series and radio dramas

Shuningdek qarang: Diabolik (2021 film)

1991 yilda, Rai 2 announced a live-action TV series based on Diabolik, which was to be produced by M Films Produzione and directed by Rospo Pallenberg. Although a 100-minute uchuvchi epizod was planned, the series did not come to pass.[78] In autumn 1999, the French television network M6 began airing a 40-episde animated series, Sabanning Diabolik, an American-French-Italian-Japanese co-production between Saban Entertainment, M6, Mediaset, Toho va Ashi Productions. The series was influenced by the critical and commercial success of Botmon: Animatsion seriya, and reworked its characters for a younger audience.[78] It follows Diabolik and Eva as they commit heists to expose the atrocities of Diabolik's adoptive brother Dane, who has taken over their father's organization The Brotherhood, all while avoiding being captured by Ginko.[109] The English dub of the series was initially set to air on Fox oilaviy kanali in the United States in 2000, but was cancelled before being aired, although the series was broadcast in Australia.[78]

2000 yilda, Monte-Karlo radiosi ishlab chiqarilgan radio drama adaptation of several of the original fumetti dan hikoyalar Diabolik. Serial efirga uzatildi Rai Radio 2, and aired for 20 episodes on weekdays from November 13 to December 8.[78] Adapted by Armando Traverso, directed by Arturo Villone and featuring original music by Giovanni Lodigiani, the series featured the voices of Luka Uord as Diabolik, Roberta Greganti as Eva, and Luka Biagini Ginko sifatida.[110]

In the early 2000s, a new film based on Diabolik, rejissor Kristof Gans va bosh rollarda Mark Dacascos va Monika Belluchchi, was in development.[111] Gans opined that "The Bava film is unique and I'd never, ever want to copy it. But let's see where we can take Diabolik today for a totally new and different Pop art experience."[111] The film did not go into production.[111] In 2002, screenwriter and Diabolik historian Mario Gomboli announced that a French production of Diabolik was to be made with a contemporary setting and a script written by Karlo Lucarelli and Giampiero Rigosi.[111] A script was completed in April 2007, with filming set to begin in January 2008, but the production stalled.[111] 2012 yilda, Sky Group, in conjunction with Sky France and Sky Italia, produced a teaser trailer for a second proposed live-action TV series based on Diabolik, but the series did not enter production.[112]

2018 yil dekabr oyida, RAI Cinema president Paolo del Brocco announced that a new adaptation of Diabolik was in development, with the Manetti Bros. directing and co-writing the screenplay with Michelangelo La Neve and Gomboli.[113] Aktyorlar tarkibiga quyidagilar kiradi Luka Marinelli Diabolik sifatida, Miriam Leone Eva sifatida, Valerio Mastandrea as Ginko, and Serena Rossi, Alessandro Roja and Klaudiya Gerini in currently-unspecified roles.[114] The film was originally set to be released in Italy by 01 tarqatish on 31 December 2020,[115] but it was then pushed back to early 2021.

Shuningdek qarang

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