Extremely rare atmospheric shot featuring a superb far shot of Director/actor Robert Hossein (Peter Kürten) wearing his fedora hat as he walks down a desolate sidewalk at night stalking his next female victim who's thirty feet in front of him.
The Vampire of Düsseldorf (French: Le Vampire de Düsseldorf) is a 1965 thriller film directed by Robert Hossein. It was joint production between Spain, France and Italy. The film was based on the life and crimes of German serial killer Peter Kürten. The Vampire of Düsseldorf was shot between September 28, 1964, and December 10, 1964. Seeing the film at a preview screening in Paris, "Mosk." of Variety stated that Hossein had "wisely not tried to emulate M and that "Hossein obviously has seen and assimilated many of these pix and does not imitate but takes the ideas and aspects of the times. But this only a moderate suspense item, which may be an okay play-off item on its theme, with arty chances broad chancey."
This one is a period piece about real life 1920s German serial killer Peter Kürten which was also a jumping off point for Fritz Lang in his masterpiece M (remade twice in the 1950s, stateside by Joseph Losey and in Argentina by Román Viñoly Barreto under the name The Black Vampire a title that leverages the infamous moniker given to Kürten (“the Vampire of Dusseldorf”). A stylish meticulously presented film without underlining the usual suspense and horror tropes too much. Mr. Hossein, the actor, as Kürten is in his typical stoicism meets melancholy mode.
While the monstrous Kürten was a product of post WWI German poverty, Hossein, the director, makes him an emblem of the rise of socio-political fascism committing his atrocities against a backdrop of uniformed thugs in the darkened streets quashing anything resembling dissent from organizing laborers. One is reminded of the themes presented in another Great Depression set study of fascism and a serial killer - the Damiano Damiani film Girolimoni, the Monster of Rome (1972).
This was the third and final of the Hossein and Marie-France Pisier (probably best remembered as Francois Truffaut’s Colette) collaborations. She elevated each film she appeared in. The score, like in pretty much all Hossein films, comes from the director’s father Andre, a father/son-composer/director collaboration.
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