REVIEW: The Terrible People

The Terrible People

Director: Harald Reinl

Year 1960

The Terrible People, AKA Die Bande des Schreckens, is a wonderfully demented and highly atmospheric Krimi film which relishes in its ample twists and turns. Cast in the genre's stylistic black and white photography and bathed in morbid visual splendor, this extremely enjoyable murder mystery is every bit as entertaining as its fantastic cast. With a steady balance of horror archetypes and comedic shenanigans, The Terrible People is an Edgar Wallace adaption that is sure to thrill.

The film begins with the capture and execution of master criminal Clay Shelton. Before he is sentenced to death, he curses all that were involved with his capture, claiming the “Hand of the Gallows” will murder each one ending with Chief Inspector Long of Scotland Yard. As bodies begin piling up and the list of intended victims begins to lessen, Inspector Long searches through throngs of shady characters and scrupulous dealings in order to find out who is behind these mysterious murders, all the while trying to keep his new-found love interest, Nora Sanders, from harms way.

Joachim Fuchsberger takes on the role of Chief Inspector Long and he does a fabulous job in the featured role. Joachim is no stranger to those of you that are fans of the genre, for he pops up in a great number of Krimi films, often taking on the lead role and doing it with style. His charisma and screen presence is unquestionably captivating, and in The Terrible People, he's in top form. His quick wit and sarcastic demeanor fits perfectly with the whimsical, yet atmospheric proceedings, and you can tell that he is an actor made for the genre. As the central focal point of the film, and the character who leads us into the fray, you can find no one better than Fuchsberger. He takes the character of Inspector Long and just runs with it, making an already enjoyable film that much more entertaining.

The rest of the cast fills in rather nicely with Fritz Rasp playing the Inspector's rigid father Lord Godley Long, Dieter Eppler taking on the sneaky and opportunistic Mr. Crayley, Ulrich Beiger as the mustachioed cad Mr. Henry, and Elisabeth Flickenschildt as the mischievous heiress Mrs. Revelstoke. They all do an impressive job in pulling out every red hearing trick in the book, and each one gets ample time to chew up the scenery. The real standouts among the cast are Krimi regulars Karin Dor and Eddi Arent. Karin Dor takes on the role of Nora Sanders, Inspector Long's love interest, while Eddi Arent plays the bumbling and faint of heart crime scene photographer Antony Edwards. Karin looks absolutely spectacular in her innocent portrayal of Ms. Sanders, while Arent does his usual comedic shtick to perfection. All in all, the cast is a wonderfully diverse group of characters that make this Krimi world come to stark life.

As for the story of The Terrible People, it is one that is filled with just the right amount of twists and turns, making you second guess every character that comes into frame. The set up of Clay Shelton's ghost murdering the people responsible for his capture and death is expertly executed, and the horror infused elements that this premise brings to life is a real treat to see play out. Those handful of moments where Shelton's figure is spotted at the scene of the crime are rather haunting, and they do marvels for ratcheting up the mystery of the story.

The atmosphere of the film is equally palpable, providing a slew of outstanding locations and sets to allow all the morbid sequences to pan out. From swanky country clubs, to fog covered woods, to tranquil rivers, and the stereotypical interiors of lavish mansions, the film has an overabundance of locales that always serve the story well. Not only are these locations distinct in tone and presence, but they are shot in the most exquisite and picturesque of ways. The black and white photography is outstandingly vivid, making for a perfect mixture of foreboding horror and unabashed beauty. Combine that with the intricate plot of multiple murders by the hand of a phantom specter and you have yourself one hell of a good time.

The Terrible People, AKA Die Bande des Schreckens, is a perfect example of the quality of films you can find in the Krimi genre. Its perfect display of balancing the horror and comedic elements of the narrative is a testament to the genre as a whole. This is also prevalent in the movie's visual aspects, as there is an abundance of charm to be had in all the eye candy within the picture. With the film's beautiful cinematography and fabulous black and white photography, the movie is a classic presentation that allows the style to gel with the substance.

Adding to the already impressive aspects of the production, the cast gives an outstanding ensemble performance allowing the paranoia of the narrative to grab hold and never let go. Though infused with a tongue and cheek attitude, the movie and its characters still manage to emphasize the mystery surrounding the film, and it is a balancing act that I've only really seen accomplished within the Krimi genre. Joachim Fuchsberger, Karin Dor, and Eddi Arent seem bred for the proceedings, giving tremendous turns as our central figures. Joachim especially brings a charismatic approach to his Inspector Long character, which can attribute to the film's infectious appeal and lasting impression. If you're new to the genre or are looking to expand your Krimi knowledge, then I highly recommend checking this entry out. The Terrible People is.....

There's something fishy about this guy.

Are you gonna bark tree, or am I going to have to pump you full of lead?

Now that's an interesting way to take a photo.

I hate classically painted portraits...... There's one right behind me isn't there?

Hello there!

Just hold it right there you sexy beast!

God damn I'm one sexy motherfucker!

The name's Long.... Inspector Long.

I'm sorry, is my mustache disrupting your meal?

Look at my mustache..... Look at it!

Murder Mystery Staring Contest.... GO!

Let's see if we can't get that booger out.

Ahoy there!

Mr. Crayley... You dirty traitor you.

Eddi! Say it Arent so!

Check out my bling bitches.

Surprise! It's a gun-phone!

Hey you! Pull my finger!

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!