VIDEO REVIEW: Metropolis

VIDEO REVIEW: Horrors of Spider Island

VIDEO REVIEW: The Terrible People

VIDEO REVIEW: Run Lola Run

VIDEO REVIEW: Tuvalu

VIDEO REVIEW: The Silent Star

VIDEO REVIEW: In the Dust of the Stars

VIDEO REVIEW: The College Girl Murders

VIDEO REVIEW: Zimmer 13

VIDEO REVIEW: The Indian Scarf

REVIEW: Der Monch mit der Peitsche

Der Monch mit der Peitsche

Director: Alfred Vohrer

Year 1967

Der Monch mit der Peitsche, AKA The College Girl Murders, is an unabashedly fun Edgar Wallace inspired Krimi film that, like most Krimi efforts, has a tongue firmly placed in cheek attitude. Brimming with interesting characters and wildly atmospheric locations, this Alfred Vohrer directed gem packs in quite an intriguing mystery. With its abundance of exciting twists, strings of red herrings and tendency to dip into the macabre in excessive amounts, The College Girl Murders is an outstandingly funny and often engaging outing that is sure to satisfy anyone looking for murder, mystery, and of course, a plethora of manic moments.

The film centers on an all girls college where a series of grisly murders have been occurring in and around the grounds of the school. One by one, the students begin to drop like flies, by an assassin who uses various poisonous devices to accomplish his diabolical deeds. To make matters more complicated, a red hooded Monk, armed with a whip, is also on the prowl. With the bodies beginning to pile up, Scotland Yard is called in to investigate. Led by Inspector Higgins, a practical and charismatic examiner, and Sir John, the whimsical and farcical Chief Inspector, the dynamic duo must figure out a way to stop the killings while unmasking the fiend behind it all. Can the two get to the bottom of this sordid plot and foil the killer's plans, or are the remaining girls doomed to death like their fallen peers?

Joachim Fuchsberger takes on the role of Inspector Higgins while Siegfried Schurenberg plays Sir John. To those out there that are not strangers of the Krimi genre, both Fuchsberger and Schurenberg should be two familiar faces. The outstanding actors have shared the screen together in countless other Krimi films like, The Inn on the River, Room 13, and The Mysterious Magician, plus have individually attacked the genre with such outstanding entries as Dead Eyes of London, The Black Abbot, and The Indian Scarf. In the case of The College Girl Murders, Fuchsberger and Schurenberg do a fantastic job as they riff off of each other with the greatest of ease.

In the story, Schurenberg's character Sir John is the superior to Fuchsberger's character Higgins, but the true nature of their partnership would be that Higgins is the one more suitable for being in charge. Fuchsberger gives his Higgins role a sure fire cocky disposition that always seems to have each situation under control, while Fuchsberger's Sir John is left foolishly grasping at straws, ultimately providing a great deal of comedic moments that truly lift up the film into whimsical territory. The chemistry between the two is just phenomenal and it is in these wacky moments, when both characters are interacting, that the film genuinely leaps to life and brings on the fun.

As with any Krimi entry, the atmosphere and locations are a standout necessity and with The College Girl Murders we are given that in copious amounts. First and foremost, the actual college in which the film is genuinely centered around is a harbinger for outstandingly creepy visuals and iconic imagery. From the darkened corridors of the dormitories, to the strange venues of the school's swimming pool with underwater glass viewing window, to the fog shrouded grounds of the college's estate, the film has plenty of opportunity to wow its audience with something truly spectacular and fresh. This tradition also carries over into the main villain’s secret hideaway, where we are given some Bond-esque views of the madman's eccentric lair, complete with an alligator pit and an aquarium encased room.

The inventive aspects of the film's visual presentation and outlandish sets goes hand in hand with the movie's imaginative ways in which the killer dispenses with his victims. From a poison vapor spewing bible, to a silly ray gun that dispenses deadly webbing, to a few more unusually conceptualized murdering devices, the film spares no expense in entertaining the audience at every turn. There is also some ridiculous fun to be had with the red hooded Monk character, who kills his victims with a bull whip. If anything can be said about this movie, it would be that it definitely has a lot going for it. From the multiple twists and turns that the narrative takes, to the wildly over the top characters, to the visual imaginative nature of the entire production, you really can't deny that the movie keeps your attention to the very end. Ultimately, that's seemingly the main goal of this original and downright fun Krimi and in that perspective it is a job exceptionally done.

The College Girl Murders is a wild Krimi fueled ride which never hesitates in bringing out every trick in the book. Its fun filled attitude and whimsical style really adds to the enjoyability factor of the film. Joachim Fuchsberger and Siegfried Schurenberg do a bang up job as two unlikely partners caught up in the most intriguing of mysteries. As previously stated, their chemistry is top notch and the comedic timing between the two is impeccable, serving to be the main source of fun to be had from this wacky film.

As for the sets and locations of the movie, they are on par with most genuinely well done Edgar Wallace productions, but this time with an added and more visually vivid approach thanks to the use of color and panache infused style. The settings of the all girls school, the fog shrouded woods, and the villain's lair are all tremendously succinct aspects of the production that really shine on the screen. The mixture of moody locations, whimsical banter, macabre humor, inventive horror, and odd ball characters is a perfect blend, and in this motley assortment of film flavors, The College Girl Murders provides a delightful example of what this interesting genre can conjure up. If you're looking for an entertaining mystery that spares no expense in the fun department, then give this one a go. The College Girl Murders is one Krimi that is.....

The moment two scientists fall in love. Awwwww!

The new Klu Klux Klan summer fashion line. FABULOUS!

That dude behind me is really starting to creep me out.

Come Here!!!!

Pull my finger Higgins..... PULL IT!

So you old bat.... You feel like a roll in the hay?

Well that settles it girls. It's spanking train time!

You damn kids and your water pistols!

Oh shit! It's time for bedtime stories with Sir John again.

You got a staring problem buddy?

Sir John, I'd ask you kindly not to stare at me like that.

Get Over Here! Finish Him!

There's something fishy about you lady.

Why you cheeky little pervert!

A blind man could see the signals this chick is sending. Wake up Higgins!

The red cloak and matching gloves were not the best choice for date night.

Go ahead and jump you chicken shit!

What manner of wild animal is that?

REVIEW: The Indian Scarf

The Indian Scarf
Director: Alfred Vohrer
Year 1963

The Indian Scarf is another wonderful cinematic Krimi adaption based on the Edgar Wallace novel of the same name. Directed by genre veteran Alfred Vohrer, the film displays some outstanding atmospheric shots combined with an eclectic cast of characters that transform this movie into an engaging whodunit story in which bodies literally begin to pile up as a mad killer stalks the visitors of a luxurious estate. With an enjoyable combination of horror, comedy, and intrigue, The Indian Scarf does a tremendous job in juggling all of these varying elements in order to deliver a Krimi entry that seems inspirational material for future sub-genres such as the Italian giallo movies and 80’s slasher flicks.

The film begins with the murder of Lord Edward Lebanon, a wealthy man, who violently leaves this world by the hands of a gloved killer armed with an Indian scarf. After the millionaire’s untimely death, his greedy relatives are called to the estate to witness the reading of the will, each foaming at the mouth in anticipation over receiving a hefty inheritance. To their dismay, they come to find that there is a stipulation that requires them to spend a week in the castle together in order for them to receive their money. With bad blood abound and long standing feuds reaching unbearable levels, the simple act of staying on the castle grounds for a week becomes a struggle for survival, for there is a murderer in their midst. One by one, family members begin dropping like flies, as the bulk of the inheritance finds fewer people to divvy up between. Is the killer one of them acting out an opportunistic plot, or is there something far more sinister and strange going on with this rash of killings? In true Krimi fashion, The Indian Scarf is an intricately played out murder mystery that always keeps the audience guessing as it narrows down the playing field in the most entertaining of ways.

Heinz Drache plays the role of Frank Tanner, the executor of Lord Edward Lebanon’s estate and reader of the will. Heinz Drache is no stranger to the Krimi genre, having starred in a number of excellent entries in which he did some rather admiral work, and in this entry he proves he’s a master of the genre. Having recently seen his performance in Der Hexer, playing the role of James W. Wesby, I have to say that he is an enjoyable actor that really brings a sense of respectability to the various characters that he undertakes. In this film, Heinz takes on the form of a detective so to speak, as he tries desperately to figure out who the real killer is within the group. The position of trying to wrangle all of these characters together and pick apart their personal grudges is a massive undertaking, and the story takes so many twists and turns that you often find yourself wondering if Heinz’s Frank Tanner is behind the murders, so the fact that Drache was able to sustain such a memorable and established character is a great example of his pull and validity as an actor.

The rest of the ensemble cast is a sight to behold, filled with such interesting vagrants as a dubious priest named Reverend Hastings played by Alexander Engel, a drugged up artist named Peter Ross played by Klaus Kinski, a venomous widower named Emily Lebanon played by Elisabeth Flickenschildt, a large monster of a man named Chiko played by Ady Berber, and an unusually silly butler named Richard Maria Bonwit played by the always entertaining Eddi Arent. Eddi especially carries a great deal of the film with his strange wit and unorthodox approach to the dire material. Eddi Arent was usually type-cast in these Krimi entries as the comic relief. Mostly his sole purpose in these films was to lighten the mood of the piece and bring about a sense of fun to the mostly dismal proceedings. When I was first introduced to his work, I felt the contrast of his performance quite shocking and unusual, but the inclusion of his presence in these types of films makes for an obtuse concoction that adds a delightful sense of fun into the mix. In The Indian Scarf, Eddi milks this unorthodox formula for all it’s worth, giving some exceptionally hilarious performances that seem like a toned down version of Tim Curry’s portrayal of the madcap butler from Clue. Eddi Arent and the rest of the cast do a remarkable job in filling out their respective roles, and their execution allows the film to feel lived in and tremendously diverse.

Like most Krimi entries, The Indian Scarf has a great abundance of atmosphere and tonal ambiguity, as it flaunts its delicate balance of horror and comedy. With the main plot of the film showcasing a group of people being murdered, one after the other, you would think that the movie would be a strictly down trodden affair, but it is played out in such a tongue and cheek manner that it begins to turn into a fun murder mystery, albeit one that has a twisted sense of humor. This is clearly represented by the character of Richard Maria Bonwit, played by Eddie Arent. Each time a family member bites the dust, Eddi’s butler character quietly begins taking away one place setting at the dinner table, simply and calmly informing the rest of the surviving guests that another person has been murdered. His nonchalant delivery of these lines is priceless in their emotionally void resonance and the reaction by the rest of the cast is unusual to say the least. The unconventional tone that is established in these scenes is perfectly blended against the film’s black comedic undertones, making for a Krimi entry that feels deliciously evil and overwhelmingly fun.

Another aspect of the production that I felt was rather endearing was the implementation of the killer and his method of strangulation as his primary form of dealing out death. The movie felt eerily like a prototype version of an Italian giallo or an 80’s era slasher flick, with its point of view shots and excessive body count. Often at times I had the impression that I was watching a lost gem from one of the aforementioned sub-genres, though one that was under the influence of laughing gas or some other kind of loopy mind altering blend. The gothic imagery that the filmmakers bombard onto the audience and the placement of the characters within this mysterious mansion filled with secrets and hidden passageways, give the film the impression of being in the same ilk as other features that prominently display their antagonist as a masked killer who stalks the entire cast until only a few remain. I thoroughly enjoyed this extraordinarily obscure take on the genre and the cast of backstabbers and opportunistic vagabonds are a joy to see interact.

The Indian Scarf is an extremely enjoyable Krimi film that governs over a slew of interesting characters, while maintaining to keep all of them relevant and prevalent to the storyline. With the abundance of roles to fill within the movie, each player brings their own unique brand of acting to the table and a choice few go above and beyond the call of duty in order to deliver a string of highly memorable performances. Heinz Drache, Eddi Arent, and Klaus Kinski especially allow their characters to shine within this topsy turvy world filled with mystery and murder, and their presence in this film is beyond palpable to the overall feel of this devilish Krimi entry.

The mixture of horror tinged atmosphere and comedy infused situations, is superbly executed, resulting in a hybrid that is both thrilling and entertaining to the last drop. The simplistic plot of a murder mystery combined with the wild array of characters that inhabit this fictional world is the perfect recipe for a fantastic Krimi film, and the concept that this all happens within the grounds of a beautifully gothic mansion estate is icing on the cake. The Indian Scarf pulls out all the punches when it comes to delivering a production that is both off the rails crazy and unpredictable, yet in this madness it is still able to rest nicely within the confines of the genre. That is an accomplishment that is easier said than done, but The Indian Scarf achieves this amazing feat with flying colors. If you’re looking for a Krimi film that blends the traditional contrasting concepts of the genre into an ideal mixture of pure entertainment, then look no further. The Indian Scarf is the…..

Someone help! My ascot is on too tight!

You say it was death by ascot? Puzzling indeed.

Ewwww!

And so the League of Extraordinarily Weird Gentlemen was born.

Is it hot in here or is it just my kickass goatee?

Straighten your glasses mister or so help me god I'll have you shot!

Well hello there you little pervert.

Eddi likes what he sees.

You call this art Kinski? Looks like Mr. Belvedere.

After reading The Neverending Story,
little Edward longed for a luck-dragon of his own.

These pair of breasts are a real looker!

You just keep smiling at that porthole weirdo.

Eddi Arent you silly.

Will you stop blowing smoke in my face! I've got my own smoke to inhale.

It's ok little Edward. The scary horse won't get you now.

Little Edward you weirdo!

Go for the crotch Fido!

See what happens when you leave banana peels lying around you stupid shit!



REVIEW: Der Schwarze Abt

Der Schwarze Abt
Director: Franz Josef Gottlieb
Year 1963

Der Schwarze Abt, AKA The Black Abbot, is a moody Krimi film that relies on its interesting characters and outstandingly spooky locations to set the tone for this exceptionally well done horror/thriller hybrid. The long list of characters that pop up within this narrative make for a wonderful “whodunit” scenario, and the intertwining and backstabbing between the various participants makes for some fun viewing that never loses its luster as the bodies begin to pile up. With its palpable atmosphere and intriguing story line, Der Schwarze Abt is a Krimi entry that rises to the “Kream” of the crop.

The film takes place at a spooky estate which is plagued by a haunting specter called the Black Abbot. This hooded ghoul stalks the grounds of the abbey, looking for people greedy enough to step onto the property and attempt to uncover the mysterious treasure that lies within its underground labyrinth. Even with the presence of this murderous ghost, a long line of guests find themselves drawn to the treasure including the owner of the estate Lord Chelford, who will stop at nothing to keep his inheritance safe. Who is behind this black cowl of death and is the treasure real or is it only a legend? Only the Black Abbot knows… Mwahahahaha!

Joachim Fuchsberger plays the role of Dick Alford, the cousin and caretaker of Lord Harry Chelford’s estate. Plagued by the love of Chelford’s fiancé Leslie Gine and concerned over the diminishing mindset of his cousin’s mental state, Alford is overwhelmed with trying to keep the families estate under control. Joachim does a fantastic job with the character and he does a great job of walking the fine line of whether he is in it for the fortune or for the sake of the family. This is the third Krimi film that I’ve seen that had Joachim playing in a starring role and, like his acting in both Zimmer 13 and Der Hexer; he does an amazing job with the brooding material. His character in Der Schwarze Abt is quite different from those other two films, for in this one he plays the character in a serious vein. While his performance might be toned down from his others, Joachim still is able to project that charm that is so entertaining to watch up on the screen.

The rest of the cast does an equally commendable job in both entertaining with their diversity and engaging with their manipulative efforts. Grit Boettcher plays the role of Leslie Gine, the object of many of the men’s affections in this film, including Lord Harry Chelford played by Dieter Borsche, Fabian Gilder played by Werner Peters, and the already mentioned Dick Alford played by Joachim Fuchsberger. Other stand out performances can be attributed to Charles Regnier who plays Detective Puddler, Eddi Arent who in typecast form takes on the role of Horatio W. Smith the eccentric detective, and Klaus Kinski who plays the sneaky butler named Thomas Fortuna. The cast of Der Schwarze Abt is absolutely wonderful and they’re able to handle the delicate and intertwining connections between each other filled with betrayal, blackmail, and murder.

As with most Krimi films, the thematic overtones of Der Schwarze Abt is a hybrid beast comprising of one part horror, one part thriller, and one part crime drama. Der Schwarze Abt does an amazing job of balancing all of these elements without making them feel like a jumbled mess. The gothic black and white imagery is as beautiful and haunting as they come and the inclusion of the underground labyrinth with its endless catacombs is such a visual treat that just keeps on giving each time we are reacquainted with it. In multiple instances, a character would venture down into the tombs, gifting the audience with another amazing location that hits the mood of the film right on the head. What makes these sequences so enjoyable is that they are filled with secret trap doors and puzzles to solve, making the intricate nature of this treasure and its secrets all the more enthralling as we delve deeper into the mystery.

Just as the underground labyrinth and its tunnels are interesting, the above ground locations of the abbey are as equally captivating as its underworld counterparts. Ancient stone archways jut out across the foggy landscape, while overgrown brush and weeds hide the faces of lurking trespassers as they watch each other scheme and plot under the light of the moon. The location is just perfect for this kind of tale, and you’d be hard pressed to find a more suitable area to shoot this sort of film in. The elaborate estate oozes a history that begs to be discovered and this concept thrives within this narrative, mirroring the obsessed nature of the characters of the film as we watch them embark on their individual quests for glory and unimaginable riches. Der Schwarze Abt is definitely a film that uses its haunting location for all it’s worth, as it chokes its audience under an oppressive veil of gothic delights and atmospheric frights.  

Der Schwarze Abt is an immensely enjoyable Krimi film that relies on its potent atmosphere and opportunistic characters to push the story along. With an abundance of visual style and a particular penchant for gothic detail, the movie knows how to create a mood and it goes all out in its execution. An expansive estate, a slew of haunting vistas, and an endless underground labyrinth can all be seen in this impressive Krimi entry that begs you to plunge into its foreboding world and soak it all up. If ever there were a more perfect location for a movie like this, I’ve never seen it.

What really makes this film enjoyable though is the inclusion of an outstanding cast of characters that really liven up the surroundings with a multitude of back-stabbings, double-crosses, and multiple murders. The legend of the Black Abbot that weighs heavy over the narrative of this film is quite brilliant and the presence of this black hooded specter gives way to some hair raising moments that thrive in that visually interesting way. With its gothic trappings and overwhelming imagery, Der Schwarze Abt is a captivating Krimi film that uses all of the genre’s thematic concepts and turns out a spellbinding whodunit tale where anything goes, including the lives of many of its characters. This film is an…..

My what beautiful eyes you have Black Abbot.

Black Abbot! You back-stabbing bastard!

I've got my eye on you mister.

Check it out! It's the smallest pencil in the world.

You hang up... no you hang up. That Kinski.

I don't like your piggly features.

Hey Abbot!

Hold it right there you sneaky Abbot.

Looks like pig season is in.

Get that towel off your head..... Ass.

Awkward!

Sir, may I take a toke?

This dude is scared out of his mind. Literally.

Looks like the Black Abbot has got a hurtin turd.

My word, I've never seen a turd that big. Marvelous.

Pig-man sad.

The crew was captivated by the discovery of an ancient egyptian hidden porn stash.

Eddie Arent and his wacky antics. Oh Eddie.

You'll never get me gold you bastards!