I criminali della galassia (1965)

35mm film, Eastmancolor, 1.85:1
mono, Italian

An Italian science fiction film directed by Antonio Margheriti using the name Anthony Dawson.

Plot Summary

Dr Nurmi, a scientist working for the mysterious “corporation” (referred to in dialogue as Kent Bio-Med but abbreviated for some reason to CBM), is obsessed with human physical perfection and conducting experiments in creating artificial human organs for transplant. Mike Halstead, commander of the space station Gamma One, is distrusting of Nurmi but is distracted by a series of mysterious disappearances on Earth. Meanwhile, a group of female secret agents working for Nurmi have arrived aboard the station with their cloned sidekicks and start shrinking people down to tiny size and making off with them stashed in briefcases. Halstead's investigations eventually lead him to the planet Delphus where Nurmi has his base and is planning on splicing himself physically to Halstead's on/off lover Connie, the first of a perfect race of humans.


Directed by: Anthony Dawson [real name: Antonio Margheriti]
Dialogue Director: Eugene Lotto
© MCMLXV [1965] by Southern Cross Films, Ltd. [US version]
A production of Mercury Film International, Southern Cross Films
Produced by: Joseph Fryd, Antonio Margheriti
Associate Producers: Walter Manley, Ivan Reiner
Original Screenplay: Ivan Reiner, Renato Moretti
Director of Photography: Richard Pallton [real name: Riccardo Pallottini]
Chief Editor: Angel Coly [real name: Otello Colangeli]
Music by: A. F. Lavagnino [real name: Angelo Francesco Lavagnino]
Sound: Victor Massey [real name: Vittorio Massi]
Costumes: Bernice Sparrow [real name: Berenice Sparano]
Make-up Artist: Euclid Santolis
Wigs and Hair-do: Italia Cambi
Scenery and Set Design: Piero Poletto
Filmed at: De Paolis Studios, Rome

Tony Russell [real name: Tony Russel [Cmdr Mike Halstead]
Lisa Gastoni [Lt Connie Gomez]
Massimo Serato [Mr Nurmi]
Charles Justin [real name: Carlo Giustini] [Lt Ken]
Franco Nero [Lt Jake Jacowitz]
Enzo Fiermonte [General Paul H. Fowler]
Bert Raho [real name: Umberto Raho [General Maitland]
Victor Bonos [real name: Vittorio Bonos [Delphus scientist]
Aldo Kant [real name: Aldo Canti [gymnasium victim]
Frank Doris [real name: Franco Doria [shrunken Anton Fryd]
Margaret Norowitz [real name: Margherita Horowitz [Mrs Fowler]
Karl Mechler [real name: Carlo Kechler [Werner]
Rudolph Lodin [real name: Rodolfo Lodi [Claridge]
Renato Montalbano [detective]
Peter Pastor [real name: Piero Pastore [scientist on planet Delphus]
Isarco Ravaioli [quarters sergeant]
Frank Ressel [real name: Franco Ressel [Lt Jeffries]
Claude Shackley [real name: Claudio Scarchilli [Halstead's pilot]
Moha Tahi [real name: Moa Tahi [abductor chief]
Victoria Zinn [real name: Victoria Zinny [Vicky Halstead]

Alternative Titles

The Criminals of the Galaxy
– Denmark
Esse Bravo, Selvagem E Violento Mundo
– Brazil
Esse Planeta Selvagem
– Brazil (television)
The Galaxy Criminals
Raumschiff Alpha – Der Planet Der Verdammten
– West German (video)
Raumschiff Alpha – Austria, West Germany
The Wild, Wild Planet
Дикая-Дикая Планета
– Russia
– Japan

See also
I diafanoidi engono da marte (1966)
Il pianeta errante (1966)
La morte viene dal pianeta aytin (1967)
The Green Slime (1968)

Extracts included in
Deodato Holocaust (2019)
Shiver & Shudder Show (2002)


Variety 12 April 1967 p.6
Ivan Reiner's script has some interesting angles but they're generally subjugated to the stress on action, of which there is plenty […] A better-than-average programmer which should lend solid support to any adventureaction [sic] double bill and a natural for the matinee kiddie crowd. – from a review by Robe

Monthly Film Bulletin vol.35 no.409 (February 1968) p.25
Despite the fact that much of the space equipment looks as if it had started life in a cornflake packet, devotees of Anthony Dawson will find a few small consolations in this woodenly acted space saga. Piero Poletto's Delphos settings are elegant and imaginative […] Since the film opens with a debate on the ethics of heart transplanting – with the hero violently protesting that a man is an individual, “not a collection of hunks of meat” – it also gains in topicality what it loses as science fiction.



  • Bianco e Nero vol.27 no.9/10 (September/October 1966) – credits
  • Hollywood Reporter vol.195 no.20 (April 1967)
  • Monthly Film Bulletin vol.35 no.409 (February 1968) p.25 – credits, synopsis, review
  • Variety 12 April 1967 p.6 – credits, review (by Robe)


  • Aurum Film Encyclopedia: Science Fiction by Phil Hardy (ed) p.237-238
  • Feature Films, 1960-1969: A Filmography of English-language and Major Foreign-language United States Releases by Harris M. Lentz III p.528
  • Italian Horror Films of the 1960s by Lawrence McCallum pp.239-242
  • by Walt Lee p.541 – credits