ROBERT HOSSEIN and MARIE-FRANCE PISIER appear together at numbered Table 14 within the cabaret setting of Le Vampire de Düsseldorf (1965) in this exceptionally detailed black-and-white photograph. Hossein’s Peter Kürten stands at the left holding his fedora prominently before him, dressed in a dark suit and tie, while Pisier’s Anna sits opposite and watches him with a guarded sideways expression. Between them, a period rotary telephone and the conspicuous “14” table marker become major visual elements, while a pair of dark gloves and other small table items strengthen the carefully observed 1930s atmosphere. Other patrons remain softly visible behind them, giving the scene depth without distracting from the tense exchange between Kürten and Anna.

The composition is particularly effective because seemingly ordinary objects acquire unusual importance. Hossein’s hat fills much of the foreground, the telephone rises directly between the characters, and the Table 14 card provides a memorable identifying detail. Pisier’s expression adds another layer of tension: rather than looking outward toward the viewer, she directs her attention toward Kürten, making the photograph feel like a captured dramatic moment rather than a conventional publicity portrait. For collectors searching for Robert Hossein Marie-France Pisier Le Vampire de Düsseldorf 1965 imagery, the combination of both principal performers, recognizable cabaret environment and unusually specific period details gives this photograph exceptional character.

Written and directed by Robert Hossein, Le Vampire de Düsseldorf is a French-Italian-Spanish crime thriller inspired by Peter Kürten, the historical murderer whose crimes in Düsseldorf gave rise to the notorious “Vampire of Düsseldorf” nickname. Hossein plays Kürten opposite Marie-France Pisier as Anna, a cabaret singer who becomes the focus of his obsession. The film was photographed by Alain Levent, with music by André Hossein, while noted French photographer Raymond Voinquel served as production still photographer.

Set in Düsseldorf during the final years of the Weimar Republic, the story presents Kürten as an outwardly ordinary man moving through the city while a series of murders creates mounting fear. His relationship with Anna gradually becomes central to the narrative, and her cabaret world provides an important public setting against the darker private reality of his crimes. Film records specifically identify an Eldorado cabaret manager among the characters, confirming the nightclub as part of the film’s dramatic environment.

Despite its title, Le Vampire de Düsseldorf is not a supernatural vampire film. Larousse classifies it as a drama centered on a murderer operating in Düsseldorf, while other film records describe it as a thriller and drama. The production was photographed in black and white in 35mm Franscope, using the wide frame, shadowed interiors and period settings to create a psychologically charged crime-film atmosphere.

This photograph captures that atmosphere particularly well without resorting to violence. Hossein’s controlled appearance, Pisier’s wary gaze, the fedora, gloves, telephone and numbered table all contribute to a convincing sense of pre-war European nightlife while keeping the dangerous relationship between the two characters at the center.

Carefully restored from historic photographic source material and professionally lab-developed, this museum-quality photograph is presented uncropped, preserving the complete image area contained in the source. Restoration recovers facial detail, hat and costume textures, dark gloves, rotary telephone and Table 14 marker while maintaining the natural tonal gradation and character of the historic black-and-white photograph. The finished photograph contains no AI-generated image content.

A richly atmospheric character image, this photograph offers collectors a memorable combination of Robert Hossein, Marie-France Pisier, 1930s cabaret detail and European psychological crime cinema.