Satanik (Italy-Spain, 1968) 86 min color DIR: Piero Vivarelli. SCR: Eduardo Manzanos Brochero. MUSIC: Romano Mussolini, Roberto Pregadio. DOP: Silvano Ippoliti. CAST: Magda Konopka, Julio Peña, Umberto Raho, Luigi Montini, Armando Calvo. (Interfilm)
Satanik, another Magnus-Max Bunker comic creation, was adapted for the screen even less faithfully than the Kriminal movies. Remaining is the central character of aged, heavily scarred scientist Marnie Bannister (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 (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, but 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 bossa nova, progressive-tinged jazz score (by jazz musician Romano Mussolini, the youngest son of Benito Mussolini) to fill in a lot of the required emotion.
This film was made available to DVD on this side of the pond from Retromedia, as featured on the three-film set, Euro Fiends from Beyond the Grave. In this edition, Satanik is featured in a chalky print in a 4:3 aspect ratio, perhaps an old TV print (which however captures the late-night feel of the movie). But if you’re a fan, there is a wide screen R2 version available.