Germany’s Stylish Crime Wave
The Krimi (a German abbreviation of Kriminalfilm, or ‘crime film’) is a distinct and highly influential genre of West German cinema that flourished from 1959 to 1972. These films were a domestic box-office phenomenon, representing one of the most successful film cycles in German history. The series was primarily produced by Rialto Film and was defined by its source material: the thrilling and often bizarre mystery novels of the prolific British writer Edgar Wallace.
Though produced in Germany, the vast majority of Krimi films were set in a stylized, gothic version of London. This created a unique cinematic world of foggy streets, stately manors with secret passages, and the iconic headquarters of Scotland Yard. Shot almost exclusively in crisp black-and-white, the films developed a unique aesthetic that blended elements of film noir, gothic horror, and a surprisingly quirky sense of humor.
The Krimi Formula
While each film had a unique mystery, they adhered to a recognizable and beloved formula:
- The Master Criminal: The plot usually revolves around a mysterious, often masked, master villain (e.g., ‘The Frog with the Mask,’ ‘The Slasher’) carrying out a series of audacious crimes.
- The Scotland Yard Inspector: A brilliant, methodical detective from Scotland Yard, often played by actors like Joachim Fuchsberger, serves as the steadfast protagonist.
- Comic Relief: The inspector is frequently accompanied by a bumbling but loyal sidekick, providing moments of levity amidst the suspense.
- Elaborate Traps and Red Herrings: The stories are known for their convoluted plots, featuring intricate death traps, a large cast of suspicious characters, and numerous twists.
- Distinctive Music: The films were often accompanied by jazzy, memorable scores, most notably by composer Peter Thomas, which became a signature element of the genre.
Influence on the Giallo
The Krimi’s unique blend of mystery, horror, and stylish visuals had a profound influence on the development of the Italian Giallo genre. Italian filmmakers took the Krimi’s template of a black-gloved, mystery killer and a convoluted plot, but infused it with their own cinematic sensibilities. They replaced the gothic black-and-white aesthetic with vibrant color, upped the levels of on-screen violence and sexuality, and added a layer of psychological, often Freudian, horror. Many actors, most notably the intense Klaus Kinski, became stars by appearing in both German Krimis and Italian Giallos.