During the production of the Mario Bava directed movie "Danger: Diabolik!" in 1967, Marisa Mell had some free time between takes which she used well given the amount of behind the scene pictures of her as Lady Eva Kant and co-star John Phillip Law as Diabolik. Set photographer was then already very famous photographer Emilio Lari who in later years would become even more famous as set photographer on movies like The Godfather trilogy or Raging Bull or Once Upon a Time in America. In this set of pictures Marisa Mell shows the latest fashion in sun glasses in her outfit from a scene of the movie where she is in disguise as a prostitute!
And of course, the fact that Marisa Mell appeared in two movies of the series "Das Rätsel der roten Orchidee" and "Das Rätsel des Silbernen Halbmonds" is the icing on the cake!
Thanks to Holger Haase for pointing this one out! Holger has a phantastic blog about the Edgar Wallace-movies: 
This time Italian singers/songwriters Fabrizio Canciani and Stefano Covri tackled this subject in their song "Esci Diabolik" from their album "Delitti e Canzoni"-Il Giallo In Musica. The song is the second title on the album. The musicians used the familiar "Wa Wa Wa" title from the original movie soundtrack by Ennio Morricone to open their song. After the intro the song becomes a very likeable jazzy inspired song with a lot of musical reference and style to another Italian jazzy singer "Paolo Conti". The video is a collage of the giallo a fumetti Diabolik and the movie that it spawned. Enjoy!
In the July 16th 1966 issue of the weekly Italian celebrity magazine "Grand Hotel" #1047 Marisa Mell was pictured on a full page and profiled in an accompanying article. Although this picture is dated in an issue from the year 1966 it shows Marisa Mell dressed and made up fro
Thus dropping the rather strict and harsh dress code after the Second World War which was the norm then in German movies where the actors often dressed in business suits, even in private outside the business hours and women in dull dark dresses. Her hair style resembles a lot the hair style from her photo shoot with German teeny magazine Bravo from August 6th 1963.
or Raquel Welch from the movie "The Biggest Bundle Of Them All"
Another as much talented artist working in the field of painted movie posters was Frank McCarthy. Everyone knows his movie posters but very few people know the name of the man behind these posters, even for die-hard "Danger: Diabolik!" fans. Who was the man who created the Diabolik poster? 
Like many illustrators of his era, young Frank McCarthy was enthralled by the adventurous, courageous exploits of Prince Valiant, Flash Gordon, and the characters N.C. Wyeth brought to life — so much so that the walls of his boyhood tree house were covered with copies he'd drawn of the beloved illustrations. This early fascination with daring, athletic heroes has carried through his dual-career life. McCarthy was not only a prolific illustrator of paperback covers, magazine stories, and major advertising for films from the 1940 's through the late 1960 's, he also became an outstanding fine arts Western painter from the end of the 60's to the present.
Born in 1924 in New York City, McCarthy drew pictures throughout his grade school years in Scarsdale, New York. As a teenager, he ventured into Manhattan to study during the summer at the Art Students League under George Bridgman, the author of many anatomy books, who gave him a strong appreciation for the dynamic human form. He was later a student of Reginald Marsh, a well-known painter of the Depression Era. Pratt Institute followed high school, where, McCarthy modestly claims, "I was by far not the best student — but somehow I managed to muddle through." During that time he attended many fascinating and edifying lectures at the Society of Illustrators by great artists such as John Gannam, Al Parker, and Harold Von Schmidt. Soon after graduation, McCarthy worked as an apprentice at Illustrators Incorporated, where he wrapped packages, made deliveries, and assembled mechanicals. Once he became a staff artist he worked on many Saturday Evening Post ads for which he had to retouch his own veloxes.
This task required fastidious attention to pattern, value, and contrast, which was to become a well-respected and sought after hallmark of his work.The artist went freelance in 1946 (his first job earned him $7.50). In the early 50's he joined Fredman Studio, which would later become the Fredman Chaite Studios. His reputation began to grow as that of a talented illustrator of both paperback covers and magazine stories — especially those with Western, action-oriented, or as McCarthy puts it, "shoot 'em up bang bang" themes. 
While producing for magazines, such as Collier's, Outdoor Life, Redbook, True, and publishers, including Avon, Dell, and Fawcett, McCarthy developed his trademark skills. He possessed an adept control of color values and contrasts which reproduced extremely well. He also had an ability to conceive and execute scenes at the climax of action and drama, whether it be two cowboys with their guns drawn, or Native American warriors charging into battle. And he was not solely concerned with the action. McCarthy enhanced it by placing his figures within the grandeur of stunning American landscapes — red-rocked canyons, sage bush deserts, snow covered mountain ranges. During his busiest periods, McCarthy painted up to four book covers a month.
In the 1960s film studios took advantage of the fact that illustrators, rather than photographers, could often better dramatize a story's plot, themes, and characters in one coherent, compelling image. "There was no one better than Frank McCarthy for the action movies," remarks illustration historian Walt Reed. "Anything they couldn't photograph, they'd have me paint," recalls McCarthy. He flourished as an illustrator of advertising imagery (including posters, record cover art and the like) for major movie studios like Paramount, United Artists, Universal, and Warner Brothers. He painted many movie stars — almost always from film stills — including John Wayne in "The Green Berets," Sean Connery in "Thunderball," Charlton Heston in "The Ten Commandments," and James Garner in "The Great Escape."
McCarthy remembers a particularly challenging job during this busy time: creating the recognizable likenesses of Tony Curtis and Yul Brynner as they battled each other with swords while on horseback. "It's hard to do because when two guys are fighting, their faces don't look the same as they do in everyday life. And they were in profile, not head on." Numerous versions later, the image for "Taras Bulba" was completed for United Artists.In 1968 McCarthy began to move away from commercial illustration when Charlie Dorsa, a good friend from his first studio job, proprelled him into the world of Western fine art. Dorsa introduced him to a sales person at a gallery who, upon seeing McCarthy's paperback covers, remarked, "If you can do that for me, I can sell them."McCarthy took him up on the offer and within just a few years he stopped doing commercial work around 1968 and devoted himself exclusively to painting Western art for galleries nationwide. In 1975 he was invited to join the Cowboy Artists of America. He was inducted into the Society of Illustrators "Hall of Fame" in 1997. Frank McCarthy died of lung cancer on November 17th 2002.
The Mercenaries (1968)
