TERROR IN THE FOG: THE WALLACE KRIMI AT CCC

****

Directed by Franz Josef Gottlieb, Harald Reinl, Edwin Zbonek.

Starring Joachim Fuchsberger, Brigitte Grothum, Karin Dor, Rudolf Fernau.

Horror/Mystery, Germany, 460 Minutes, Certificate 15.

Released in the UK on Limited Edition Blu-ray on 26th May by Eureka Entertainment

In this age of streaming, when physical media seems to be coming under more of a threat than before, companies such as Eureka should be commended now more than ever. I single out that particular company here, not only because they are behind releasing this particular release, but for their other, recent releases highlighting vintage German genre cinema. This new boxset turns the spotlight on the krimi genre, a cycle of films that were wildly popular in West Germany throughout the 1960’s. These films, particularly this selection, should be of interest to horror aficionados as they prove themselves to be a clear precursor to the Italian giallo movement and even slasher cinema in the years after. Therefore proving the importance of physical media bringing such a neglected genre back to the spotlight in such a beautifully presented fashion.

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These five, well actually six but I’ll get to that in a bit, krimi’s are based on the works of British crime writer Edgar Wallace and his son Bryan Edgar Wallace, who stepped up to the plate after his fathers death, proving himself to be just as popular with audiences, especially in West Germany. This particular fact caught the attention of producer Artur Brauner, causing him to snap up the rights to a number of Wallace stories to be adapted within his own company, CCC Film. The results were a series of distinctive murder mysteries filmed in Germany with an all German cast and crew but set, usually, in London. This otherworldly feel, to English speaking audiences anyway, is further exacerbated by frequent bursts of savage violence, usually committed by masked and gloved killers, acting not only on their own savage impulses but often compelled along by long-held secrets from the past.

This familiar template kicks off with CURSE OF THE YELLOW SNAKE. Probably the least entertaining of the films here with its faintly daft tale of a Chinese cult in pursuit of an ancient artefact that will somehow let them take over the world. The “yellow peril” enemies, as well as the dubious and ridiculous make-up used on the main villain date the film terribly, but Franz Josef Gottlieb serves up enough inventive direction to distract the viewer. Thankfully, things improve from here with Harald Reinl’s THE STRANGLER OF BLACKMOOR CASTLE, a twisty tale of a scheming rich gentleman terrorised by a masked murderer who seems to know the secret behind the millionaires lavish lifestyle. Also includes one of the earliest, if not the first, instance of the old motorcyclist getting decapitated by razor wire across the road trick and the least convincing portrayal of a Scotsman in the history of film. Both films are also notable for including proto-electronic scores by composer Oskar Sala, whose eerie harmonies contribute further to each film's sinister atmosphere.

Just as entertaining is THE MAD EXECUTIONERS, the tale of a group of hooded figures terrorising the London underworld with their own twisted sense of justice, directed by Edwin Zbonek. While convoluted, the film should appeal to fans of retro and 60’s pulp entertainment with its cast of detectives in disguise, brassy and glamorous dames and a vintage jazzy score from Raimund Rosenberger with a main theme that sounds as if it was a massive influence on Angelo Badalamenti. Zbonek returns to direct with the seeming return of Jack The Ripper in THE MONSTER OF LONDON CITY. We follow the travails of a stage actor coming under suspicion after his all too convincing onstage portrayal of the infamous killer sees him come under suspicion as a series of shocking murders rock the city. Despite the presence of a bumbling, comic relief married couple injecting themselves into the plot this is another stylish slice of vintage violence.

The set is wrapped up with THE RACTRACK MURDERS, aka THE SEVENTH VICTIM. Franz Josef Gottlieb directs once more, squeezing his style into a 4:3 frame with yet more murders claiming the lives of a bunch of often unsympathetic millionaires as race fixing, poisonous snakes, a horse named Satan and more pack out the mystery and round up the set.

This four disc set contains a wealthy and illuminating set of extras, including yet another film THE PHANTOM OF SOHO, another entry from Gottlieb that due to the lack of a HD remaster at this moment in time has been relegated to the extras. This is a shame as this is just as influential, if not moreso, in krimi cinemas influence on giallo cinema with its sleazier, for the time, nature with yet another gloved, masked killer running amok in the titular neighbourhood. Its presence is more than welcome however and the rest of the extras help provide context for the films and deepen ones appreciation for them. Tim Lucas’s thorough and informative introductions to each film would be enough on their own but an excellent video essay from Alexandra Heller-Nicholas that traces the influences on the other aforementioned genres is an excellent companion piece as well as the audio commentaries provided by experts including the ever present Kim Newman. Rounding things off is an interview with Artur Brauner's daughter, Alice discussing Brian Edgar Wallace taking on his fathers legacy and how fruitful it was for the studio.

With the stunning, crystal clear transfers on each film this is a welcome reminder of an all too neglected area of cinema. The mingling of German and English sensibilities suggests a parallel universe London of ink-black skies, with dank back alleys leading onto fog shrouded mansions where elderly relatives hide their darkest secrets that have violent repercussions for the following generations. Perfectly complementing the recent MABUSE LIVES! boxset, also from Eureka, this is a more than worthwhile introduction to krimi cinema and yet another example of how physical media can bring life back to once forgotten films, presenting them to a new audience in a way that digital streaming simply cannot compare to.

Iain MacLeod