Danger: Diabolik
Bava doing pop art on pocket change. Genuinely one of the best-designed films ever.
Continental Bond knockoffs, produced faster than the originals and occasionally more fun.
Eurospy is the cycle of European spy films made in the wake of the James Bond series: between Dr. No (1962) and the end of the decade, Italian, French, Spanish and West German producers made more than two hundred of them.
The formula never varies: an agent with a number for a name, one gadget, four European locations shot in a fortnight, a title theme working very hard, and a stolen formula. Budgets run from modest to visible-boom-mic.
Every so often one is excellent. Mario Bava's Danger: Diabolik (1968) has production design that looks ten times its cost.
The cycle died when Bond turned self-parodic and the continental industries moved on to giallo and poliziotteschi, taking the same crews with them.
Where the crews went next: The giallo, 1963 to 1976.
A line of yellow paperbacks, a killer in black gloves, and Mario Bava building the American slasher a decade before Hollywood cashed the cheque.
Bava doing pop art on pocket change. Genuinely one of the best-designed films ever.
The eurospy archetype, from a French agent who beat James Bond into print by four years.
They cast Sean Connery's actual brother. That is the entire idea.
Mid-tier Eurospy with an unusually good title and Mike Connors.