Los ojos muertos de Londres

Wealthy, heavily insured men are being murdered at an alarming rate. Scotland Yard investigates and finds clues that lead to a ring of blind men, led by a mysterious "reverend."

London has never been this creepy and foreboding as portrayed in this unusual Edgar Wallace thriller. The shadows and fog are intensely shot- and matching this are a host of creepy characters, mainly blind man Jack, a fiend who attacks and kidnaps insured men. With his ridiculously hairy arms and imposing the presence, he looks like an otherworldly ghoul. Speaking of ghouls, Klaus Kinski also stars, and plays a shady character. Which is a stock in trade for him. Joachim Fuchsberger is great in the lead as always, wry and on the ball as the inspector , and Karin Baal adds the glamour quotient and Krimi regular Eddi Arent lightens things with his fastidious police assistant character. It's a well-paced film, dripping with atmosphere, flourishing with stylistic touches and loaded with multiple twists.

Joachim Fuchsberger is the Scotland Yard inspector again, and Karin Baal the pretty girl who keeps showing up in this mystery about a series of accidental drowning victims, all of whom have insurance policies with Wolfgang Lukschy. Lukschy is being semi-blackmailed about his dead brother, so it all becomes murkier and murkier... and there's Klaus Kinski as a flunky who always wears sunglasses. Gotta keep an eye on him!

Some of these German adaptations of Edgar Wallace mysteries -- I looked at a dubbed version -- seem to spend their time confusing the audience with atmosphere. This one is just as obscure, but it seems to be better put together as a mystery. It's not a great movie, but as usual, it's a well-constructed time-waster.

This remake of DARK EYES OF London (1940), from an Edgar Wallace novel, joins the mere handful of Krimis that I've watched over the years; as far as I can recall, these extend to just 3 DR. MABUSE entries and CIRCUS OF FEAR (1966). I know many are ardent fans of this type of film but, personally, I don't think they have the same rewatchability value as the contemporaneous Italian gialli.

The film is marked by directorial stylistics – arresting shock cuts, inventive transition between scenes (including the iris effect), etc. – and an avant-gardist score. It goes on too long, however, by having an inordinately convoluted plot that involves numerous characters; the original – a British B-movie – was, by necessity, far more compact and, consequently, more direct and effective. Still, the basic thriller elements remain undeniably engaging and the noir-ish atmosphere is thickly laid on (though undermined by the dupey, splicey print on the Retromedia DVD) – making the film quite enjoyable if, ultimately, nothing special.

The cast is O.K.: likable middle-aged lead, attractive female roles, slightly overstated comic-relief sidekick; Bela Lugosi's role in the original is split into two here; the blind killer – played by a Tor Johnson look-alike former wrestler – is, again, depicted as a hairy grotesque; and it also features a young but typically intense Klaus Kinski in a supporting role.

After a long time, I saw a German Edgar Wallace film again and I was not surprised. Those films are about all the same. Klaus Kinski plays the dark guy, Eddi Arent the funny one and Joachim Fuchsberger the smart and handsome detective. The idea (blind men are forming a gang and kill wealthy old men in foggy nights) is extremely far-fetched this time but that's Edgar Wallace's fault and not that of the filmmakers. There are also too many coincidences to call it a crime story of great quality. Still, the film is well directed: in traditional black and white, thrilling and gruesome, but more serious than other films of the series like „The Indian Scarf` for instance.

The solution of the crime is good, less far-fetched than the rest of it. On the whole, this is one of the best Edgar Wallace films – and I've seen many, though it happened some time ago.

This is the second adaptation of Edgar Wallace's 1924 novel The Dark Eyes of London, the first featuring Bela Lugosi in 1939. A German production, this 1961 version stars Joachim Fuchsberger as Inspector Larry Holt who investigates a series of murders, the victims all wealthy men with hefty insurance policies. Holt's enquiries lead him to believe that the killings are somehow linked to a home for blind men run by Reverend Dearborn (Dieter Borsche). Glamour is provided by Karin Baal as Eleanor "Nora" Ward, an expert in Braille who helps Holt unravel the mystery.

Not nearly as effective as the 1939 movie, Dead Eyes of London suffers from a sloppy, convoluted script and muddled direction that ultimately leads to confusion. That said, even though the plot doesn't make much sense (why were all of the murder victims spectacle wearers?), there are still things to enjoy about the film: the hulking, sightless, hairy maniac called Blind Jack (Ady Berber); a weaselly lowlife by the name of Fleabite Fred (Harry Wüstenhagen); Holt's comedy relief sidekick "Sunny" Harvey, who likes to knit; Klaus Kinski looking creepy; a few cold-blooded killings; a jazzy avant-garde score; and, best of all, a POV shot from inside a man's mouth, which is so unexpected and bizarre that it automatically earns the film an extra point, raising my rating from 4.5/10 to 5.5 (rounded up to 6 for IMDb).