KILINK IN ISTANBUL/ KILINK VS. SUPERMAN/ KILINK STRIP & KILL
(1967/Turkey)
Review by - Scott Mosley Directed by -Yilmar Atadeniz Cast - Yildirim Gencer, Irfan Atasoy, Suzan Avci, Sevda Nur, Devlet Devrim Source - Onar Films Dvd - Region 0 PAL/ 2006
Under the tutelage of his brother - Turkish pulp cinema pioneer Orhan Atadeniz from a very young age, Yilmar Atadeniz learned the ropes of film-making, as well as the country’s growing penchant for nabbing established, archetypical characters such as Tarzan, Dracula, and The Invisible Man, and throwing them into the apropos, melting pot of Istanbul with enthused vigor and uneven effect. Yilmar looked no further than his country’s Roman Empire brethren, and the successive rise in popularity of Italy’s fumetti neri (black comic) to perform his heist. Initiating a trilogy of episodic Kilink films starting with KILINK IN ISTANBUL (1967), that featured the Turkish incarnation of a skeletal guised, anti-hero that originally became infamous in the Magnus & Bunker strip KRIMINAL, before being stolen (see a theme developing) in a series of increasingly violent photo novels called KILLING.
A funeral procession uncovers a mysterious bandaged figure within a coffin, who rises after being injected with a serum and unveils himself as Kilink! Revived the assailant launches an attack on a wealthy professor’s chateau in quest of a secret formula to make a weapon to rule the world. At the expense of the kindly professor’s life, Kilink heists the documents only to discover he’s been hoodwinked and vital elements are missing that won’t allow the project’s completion. Meanwhile back at the chateau , the professor’s son vowing for revenge is aided by a Zeus type who appears in a puff of smoke spouting some mythological mumbo jumbo and gives the son the power needed to fight Kilink by uttering the word "Shazam", transforming him into the Flying Man (Superman), whose costume resembles more Adam West’s Batman. What ensues is frantic kidnaping, car chases, fight scenes, shoot outs, and melodrama, as Kilink and his cronies seek the illusive formula and The Flying Man looks to foil the persistent krimi’s plans. Concluding with Kilink creating a death ray and the arch enemies face-off atop Istanbul’s Galata’s tower in KILINK VS. SUPERMAN.
After failing to resolve anything in the previous entry, KILINK, STRIP AND KILL deploys a new scenario borrowed directly from a story in the Killing photo novel, involving a glob trotting Kilink infiltrating a New York crime syndicate (who for some reason adorn inquisitor hoods at their clandestine meetings) in search of a microfilm for guided missiles, only to be lead back to Istanbul. While he’s at it "The King Of Murderers" figures he might as well get his hands on an illegal shipment of gold, make out with and slap a couple of sultry women around, while further baffling an already dumbfounded police force.
Finding fault with films of this ilk that play so shamelessly at the sinister and ridicules can be a double edged sword. Technical deficiencies and resources make easy accusations of ineptitude, or make for great B grade hysteria in a world where Flying Man never do and wardrobe might mean spray painting a K across your chest to signify the baddies. Undaunted by their limitations, they revel in the built in advantages of some daringly over the top fighting stunts, as well as Istanbul’s country sides, waterways, cemeteries, and a abundance of east meets west architecture, that create an alluring backdrop for the shenanigans, as an array of beauties bounce in and out of scenes to perform kitschy dance numbers and succumb to various torture at the master’s bidding. Much of the cockamamie brings to mind some of Jess Franco’s more exotic, tongue and cheek, adventures such as LUCKY THE INSCRUTABLE and KISS ME MONSTER, which indicatively paint a picture of the extravagant, pop art sensibilities of the period and the importance of Onar unearthing these films.
Sadly, these cultural landmarks have fallen victim to unfathomable neglect, much like the Coffin Joe films were presumed lost, and some, including his most uneasily surreal - THE STRANGE HOSTEL OF NAKED PLEASURES damaged close to unwatchable. What exists in terms of Beta-cam masters represents shoddy, patchwork versions of what remains from a studio fire. With each successive entry the quality improves, with KILINK, STRIP & KILL making out noticeably better than the first films. KILINK IN ISTANBUL is especially erratic do to loss of materials. And what shaped up to be the most spectacularly spellbinding sequence, the Galata tower face off from KILINK VS. SUPERMAN, is pieced together from surviving stills similar to the Turner Classic Movies restoration of LONDON AFTER MIDNIGHT. Not a bad option here when you take into account the film’s comic thievery. It should be noted that practically the first half of KILINK VS. SUPERMAN is compromised of montage footage from the first film as an overall synopsis of the story capturing its zanier moments, and of slightly better quality. So unless a completest, or have a specific need for the extras which amount to three awful looking, dime store budget, Turkish super-hero rip-offs. The double feature disc of the two later films is certainly the better option. Also featuring many more extras including separate interviews with The Flying Man himself - Irfan Atasoy and Yilmar Atadeniz. Both discuss the complications of filming in Turkey, the without a net approach of the stunts at the time, along with Atadeniz’ hilarious notions on fantasy, action, and drama, he talks of plans for a new Kilink film.
Foregoing anything resembling narrative stratagem, Atadeniz’ Kilink films barrel by with an unfocused cavalier that never manages to be predictable, while loosely maintaining the spirit of its origin without the heightened sado-eroticism found in KILLING. Faring better than Umberto Lenzi’s neutered, uneventful adaption of KRIMINAL, even with regards to its celluloid precedent.
Cumulative KILINK effect: 3/5
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