Terror In The Fog: The Wallace Krimi at CCC is a recent six-film collection from Eureka. The focus of the four Blu-ray box set is the cycle of crime films – or krimis – released by CCC studios. The genre was hugely popular with West German audiences in the 1960s. The films were adapted from works of British crime writer Edgar Wallace and his son, Bryan Edgar Wallace. They combined the traditional murder mystery with horror, in which they depicted enigmatic killers stalking their victims through foggy English landscapes – from the streets of London to isolated rural mansions. The genre became an influence on both Giallo and Slasher forms.

Five of the films take in 2K restorations of the original film elements undertaken by CCC, with a standard definition for The Phantom of Soho. Most of the films feature commentary tracks, intros and other extras. With the  finished set coming with a sixty-page book featuring a new introduction to the Wallace krimi cycle by film writer Howard Hughes, a new essay on Edgar Wallace and Bryan Edgar Wallace by crime fiction expert Barry Forshaw and new notes on each film by Holger Haase, co-editor of Krimi! magazine 

On the first disc, we have two films- The Curse of the Yellow Snake, and  The Strangler of Blackmoor Castle.

So first up, we have The Curse of the Yellow Snake (aka Der Fluch der gelben Schlange)- which is a yellow terror-focused crime action film. This is from the year 1963, with a runtime of one hour and thirty-seven. It was directed by Semmering, Austria-born Franz Josef Gottlieb, who had forty-one feature credits, and an equal number of TV credits.  His feature-lengths took in the likes of musical comedy Season in Salzburg (1961), a fair few Krimi’s such as  Phantom of Soho and  The Racetrack Murders- both from 1964, and both on this boxset.  Euro spy adventure Spy Today, Die Tomorrow(1967), parody Crazy-Total Verrückt (1973),  comedy horror Lady Dracula (1977), and teen sex comedy Popcorn Und Himbeereis(1978).

The film’s credits are impactful with red and blue texts over its black and white film stock. We see two Asian men breaking into a compound, then into a temple, stealing a gold and jewel-encrusted snake. Just towards the end of the break-in, our lead/ hero, the suited/brill-cream, sided parted Clifford Lynn (Joachim Fuchsberge) jumps in, but the men get away.

Fairly soon, we find we’re in China, and that the snake is an important item, so Clifford is sent to the UK. As well as investigating the missing snake, he’s also part of a marriage for money ploy as tubby, sweaty, balding Stephan Narth (Werner Peters), who is selling his daughters off, to try and get out of debt.

As the film unfolds, we get lots of flying knife action, an underground ritual room/ gun stash, chases through a misty nighttime city/ over a shifting water lock. We have a sleek, if rather cliched, politically incorrect villain in St. Clay/Fing-Su( Pinkas Braun), a white western man with his eyes taped at the sider so as to look Asian. There’s a quirky/comedic character, bumbling, accident-prone, scaredy cat Asian art dealer, Samuel Carter (Eddi Arent).

The Curse of the Yellow Snake rather brought to mind the Fu Manchu films- Asian assassins, and a desire to dominate the world bad guy. It’s a tad too talky in places, though there are some neat enough action set-ups/ fights. Fuchsberge is fine as our hero, and at points he gets quite rowdy/ with his neatly hair messed up. It’s a fine film, though, due to the focus on dialogue, it’s a bit of an odd choice for the first film on the set.

Next, we have The Strangler of Blackmoor Castle (Der Würger von Schloß Blackmoor), which is from the year 1963. Here we have a blend of creepy murder mystery, thriller, and crime drama, with touches of gothic horror.

The film was helmed by Bad Ischl, Austria-born Harald Reinl. He had sixty-four features to his name. These included the likes of monastery-based drama The Unholy Intruders (1952), a few Krimis such as Face In The Fog (1959), The Terrible People (1960), and The Forger of London (1961).  Moving into the 70s- he released Alaska-set western Cry of the Black Wolves (1972), sunken treasure adventure Deadly Jaws (1974), and ancient astronaut-focused doc Mysteries of the Gods (1976).

The film is largely set on an English estate, which includes a castle. A baklava and gloved killer is attacking people, branding their heads with the letter ‘M’, before, in many cases, decapitating them.

Brought into the mix is diamond smuggling, a selection of shifty/ untrustworthy characters, a bumbling/ distinctive hooked moustache lord, an outspoken/ annoying little boy, and a selection of often stunned-looking women.

The castle itself features hidden doorways, secret passageways, and underground passageways. Along the way, our killer stalks through the mist, creeps around the castle, has all-out fights, and threatens folk. The decapitations/ their aftermath are quite impressive- with heads sent in boxes, and a cable over a bridge lopping off.

All in all, The Strangler of Blackmoor Castle is most entertaining, with some neat, tense, atmospheric, and low-key horror moments.

On the extras side of this disc, we get a few neat new things. First off, there is a commentary track for each film.  So, first up for The Curse of the Yellow Snake, we find respected genre commentators/ authors Kim Newman and Barry Forshaw doing the film's track.  They begin discussing CCC Films, which produced the film and their rival Rialto- both companies produced Wallace-penned Krimi’s, with often the same actors. They discuss how the film is set in a rather mythical/never existed version of London, with smog, fog, and cobblestones, which was in the 1920s. They talk about how the story was changed from the 1926 novel and the film to hand. They discuss Eddi Arent- the comic relief in the film- giving a brief biography/ other worthy appearances. Later on, they ponder whether Mario Bava or Dario Argento watched any of the Krimi’s. and much more.

The track for The Strangler of Blackmoor Castle is with writers/ genre commentators Kevin Lyons and Jonathan Rigby. They begin by talking about the film's positive image vs negative text credits, briefly touching on how all the genres' pictures have creative credits. We get bios of bit-part actors, and they chat about how the film's killer was not just a strangler, as he uses a few different ways of committing homicide in the picture. We find out the film was shot between the 5^th of April and the 17^th of May 1963- been largely shot at CCC studios in West Berlin. They talk about how the film was cheaply made but looks great.  They comment on the bumbling/ comedic lord and get his bio.  Hair pieces are pointed out, and they talk about the main house location, which was in a rich area of Berlin. Later on, they talk about the film's child actor, who was eleven at the time of shooting, who went on to dub the likes of Tom Cruise and Andy Garcia in German releases of films. They point out details in the London stock footage, give a bio of Oskar Sala, who created the film's electronica score, and much more.

Otherwise, extras on this disc include the following: What Is A Krimi? (5.51), intro to The Curse of the Yellow Snake (12.26), and intro The Strangler of Blackmoor Castle (10.08). These are all by genre expert/ author Tim Lucas and are all well-researched/interesting featurettes.

Moving onto the second disc in the set, we have The Mad Executioners, and The Phantom of Soho.

So first up, we have 1963’s The Mad Executioners (Der Henker von London)- this (largely) regards a group of hooded vigilantes, who are carrying out their own judgment in an underground crypt, before hanging the convicted in public places. The film blends elements of crime mystery & gothic horror, with light touches of serial killer thriller & mad doctor tropes.

The film was directed by Linz born Edwin Zbonek. He had eight features to his name, as well as fourteen shorts/ TV series episodes/ TV movie credits. His features included the likes of military period drama Twenty Brave Men (1960) and Krimi featuring Christopher Lee The Monster of London City (1964).

The one-hour and thirty-three-minute film opens with some great pre-credits, as we see the executioners in their black gowns & hoods standing behind a row of coffins with candles on top. In front of them is a man whose property scams caused the death of a few people. The executioners select either a black or a white ball from a skull bowl, and of course, they all chose the black one for death. The accused is gagged, thrown in a coffin, then taken through the night in a horse-drawn carriage. Next, he’s transported into a boat, with a rope slung over (meant to be) Tower Bridge, and left to swing.

As the film opens up, we meet a selection of characters: young brill creamed detective John Hillier (Hansjörg Felmy), constantly talking/ boasting retired judge Sir Francis Elliott (Rudolf Forster), his rather haunted-looking butler/manservant Jerome (Rudolf Fernau), the judge's blonde-haired daughter Ann (Maria Perschy), and constantly switching disguises journalist Gabby Pennypacker (Chris Howland)

The first hour or so of the film is focused on the investigation into who is behind the executions, the trails of the executioners, etc. With some rather unbelievable plot points, like the rope used for the hangings is repeatedly stolen from Scotland Yard's black museum for each hanging.

Then, in the last twenty-five minutes of the film, we switch to a vague subplot mentioned before, regarding a serial killer who removes his female victims' heads, before dumping the bodies in public places.

The film is fairly entertaining/ engaging, with some neat set-up/ decent scenes, moving between the trials, some chases, and even a jiving bar scene with this great grooving piano/accordion track. There are, unfortunately, a bit too many scenes of men in smoky offices talking, and Felmy as our leading man/ hero is somewhat flat/uninspiring. But on the whole, I’d say The Mad Executioners is another rewarding Krimi- with rewarding gothic through to serial killer horror tropes within its make-up.

Next is The Phantom of Soho (aka Das Phantom von Soho) from 1964. The film regards a sparking-gloved killer murdering a series of influential men in the red-light district of London. It blends investigative murder mystery with POV killings, touches of creepy atmospherics, and a very noir edge to the proceedings, both in character make-up, tone, and look.

The film was directed by Semmering, Lower Austria-born Franz Josef Gottlieb, who directed the first set in the set The Curse of the Yellow Snake.

It opens up with a well-dressed/ plump man making his way through the evening streets of Soho, being propositioned by a series of prostitutes- he bats each away. He comes to the doorway, turning around to be stabbed in his big belly with a craving by the sparkling gloved killer- after the victim falls, he pushes an envelope in his dying hands. The screen then fills with blood red at first, then blue, yellow and purple-coloured credits roll.

As we get into the film, we get introduced to two of our main characters- the smug and pompous head of Scotland Yard Sir Philip( Hans Söhnker), and outspoken mystery writer Clarinda Smith(Barbara Rütting)- the pair are sharing drinks in Sir  Philip’s dark wood-lined & roaring fire home.

The film is primally set around Soho, and its high-class nightclubs- where rich and influential men hang out/ drink, and watch female dances.. One of the key clubs is run by a curt, wheelchaired woman, who watches the comings and goings via a two-way mirror.

Sent to solve the crime, we have sullen and grey-haired Chief Inspector Hugh Patton (Dieter Borsche), and his slightly bumbling sidekick Sergeant Hallam (Peter Vogel), a moustache-twirling, bespeckled, bowler-hatted, and bow tie-wearing fellow.

The attack/ stabbings are presented in a POV manner- with all of the victims being male. We get some neat fog-shrouded street shots/ stalking, eerier dark alley wandering with pale, ugly faces looking out from their corners. But it’s not all set in Soho- there's a neat Coal Yard/ above train track fight too.

I’d say The Phantom of Soho stand as one of the highlights of this boxset, and of the Krimi genre in general. It offers up a great mix of mystery, effective/ creepy stalking, and well-realised and atmospheric noir tropes.

Extras-wise, on this disc we have a commentary track for just The Mad Executioners, and this is with Kevin Lyons and Jonathan Rigby. They start by talking about the fairly head-scratching pre-credits and the great gothic atmosphere. They point out locations as they appear, and the cracked brain/ fantasy take on Britain in the film. They point out details in the black museum, and it was easy to get into it/ steal the rope.  They discuss notable actors as they appear.  We find out it was filmed between the 2^nd of September and 8^th of October 1963- it was released 22^nd of November the same year in Germany. Later on, they point out the contrast between locations. They talk about notable crew in the film, and discuss the film's serial killer villain/ who played him.

Otherwise, there’s the following The Mad Exectioners intro (11.12), and The Phantom Of Soho intro( 8.45)- both of these are with Tim Lucas again, and once more are wonderfully researched affairs. Lastly, there is Bryan Edgar Wallace: An Era ( 9.58) interview with Alice Brauner, producer and managing director of CCC Film and daughter of Artur Brauner

Disc three features just one film, 1964’s The Monster of London City (aka Das Ungeheuer von London-City ). This was directed by Edwin Zbonek (The Mad Executioners).  It’s a blend of serial killer horror & mystery.

The film opens on the foggy & neon-lit streets of London, with street walkers smoking and leaning against walls. A cloak-coated, fedora-wearing, and leather-booted figure appears pulling a straight razor and pulling away a street walker, as the blood red, yellow, and green credits roll.

As we get into the film, we find out that a new play based on the crimes of the original Jack The Ripper is playing in the western end, and it seems someone is murdering women for real on the streets of London.

And of course, we have a selection of characters/ possible suspects- there’s quaffed-haired Richard Stands (Hansjörg Felmy), who is playing the role of the killer. His darting-eyed/ creepy man servant/ stage pro handler Horrlick (Walter Pfeil). Pompous and pious member of parliament Sir George Edwards (Fritz Tillmann), his niece Ann Morlay (Marianne Koch) who has rather a thing for actor Sands. There’s bespectacled police doctor Dr Greely (Dietmar Schönherr), who wants to be with Ann. And lastly, there’s camp/ bumbling, cap & scuff wearing PI Teddy Flynn (Peer Schmidt)

Investigating the crimes is pipe-puffing and thin grey moustached Inspector Dorne (Hans Nielsen). The stalking kills are most moody, at times almost creepy, with one particular memorable scene seeing the killer approaching his victim standing against a wall, as first the killer's shadow then his hand covers his victim's face.

The selection of suspects is decent, and I didn’t guess who the killer was. This disc has a certificate of 15, so I was expecting the film to be a bit more nasty/ intense with the kills, but in fact they are fairly reserved/ not showing much.

Anyway, The Monster of London City is another worthy Krimi, and another interesting addition to Jack The Ripper film genre.

Extras-wise, here we get a commentary track for the film authors/ genre experts Kim Newman and Stephen Jones. They start off by pointing out that the pre-credits are filmed in the same set as Phantom of Soho, which doesn’t look like either Soho or Whitechapel. They comment on the film's colour credits, and their black & white London stock footage credits, pointing out locations in the footage. They discuss how this was the first Jack The Ripper copycat film, with a few of its tropes reused in later films. They point out how many of the characters wear the killers’ boots, cape and hat look, so as to make you wonder who the murderer is. They talk about how this, and many of Krimm’s weren’t really based on the novels, with the name just being used to pull in the punters.  We find out neither of them recalls/ or could find any proof that the film ever played in cinemas in the UK. Later on, they point out bit part actors, giving brief bios.  And discuss the film's plotting.

Otherwise, extras-wise, we- The Monster Of London city intro (7.44) with Tim Lucas. And Passing the Blade ( 18.24) video essay by Alexandra Heller-Nicholas exploring the influence of the Wallace krimi on the Italian giallo and the American slasher film, which finds her make some great connections/ comparison between the two genres- though this is very much to watch after you’ve seen all the films, as they are major plot spoilers for all of the films on the set

Once again on disc four has just one film, 1964’s The Racetrack Murders- it was directed by Franz Josef Gottlieb (The Curse of the Yellow Snake, The Phantom of Soho). It’s largely a more formal murder-mystery film, regarding a rich bickering family and their champion racehorse, Satan.

The Racetrack Murders (aka Das 7. Opfer, The Seventh Victim) has a somewhat misleading title, as most of its just over one and a half runtime is based around a grand country mansion and its stables.

The film is a fairly pacy and eventful affair, as within a short time, we have three murders, our killer has shiny black boots, shiny black gloves, and sometimes puffs on a cigar. The choice of murder weapon moves from a pistol shot from the undergrowth, a metal clubbing, being pushed over a bannister, etc.

Character-wise we get a good selection, with a few more bizarre/ quirky ones- there’s ageing and rather obnoxious Lord John Mant(Walter Rilla), money-grabbing clergyman Reverend Turner(Hans Nielsen), blackmailing/ shifty nightclub owner Ed Ranova(Wolfgang Lukschy),  brash/ quirky artists Peter Brooks(Hansjörg Felmy) and his own personal dietitian/ nurse Molly Dobson(Trude Herr)- plus a few others.

Investigating the crimes is grey slicked back-haired & man with no vices, Inspector Bradley (Heinz Engelmann), who pops up all over the place day or night. The whole film romps along well enough, though it has the large mansion/ stables base- we do get shots in shadowy nighttime city streets, and fog-bound chase.

The Racetrack Murders is fine, though not my favourite of the set- due to its more formal murder mystery focus- but if you enjoy that genre, I’m sure you’ll get more out of it than I did.

Extra wise on this final disc, we have a few things. First off, we have a commentary track from Kevin Lyons and Jonathan Rigby.  They begin by talking about the pre-credits footage and how there is a documentary feel to the filmed outside footage.  They talk about how there are few similarities between the film and the books meant to be based on Murder Is Not Enough from 1964. They discuss how the film satirises British aristocracy, and that the film gets more comedic/ silly as it progresses.  We find out that the outside racetrack elements were filmed at the then-largest outdoor venue in Berlin. Later on, they talk about the film's shooting schedule, which ran between the 10^th of August and the 11^th of September 1964- it was given a certificate of fifteen, and was released on the 27^th of November. They discuss the film's director and a lot more.

Otherwise, we get an introduction to The Racetrack Murders (7.42), Terror in the Fog(1 hour 24) an in-depth discussion between film historians Tim Lucas and Stephen Bissette- this plays over the film.  And lastly, an original German trailer for the film.

All told, Terror In The Fog: The Wallace Krimi at CCC is a wonderful introduction to the world of the Krimi, with a good selection of films, and most informative/ interesting extras. Let's hope this leads to more  Krimi film collection!