Phonearl Good start, but then it gets ruined

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

ferbs54 As distinct a film genre as the American film noir of the 1940s and '50s and the Italian giallo of the 1970s, the German krimi pictures that flourished throughout the 1960s are almost exclusively based on the works of one remarkably prolific author: British novelist Edgar Wallace. The creator of around 175 (!) novels of mystery, crime and detection, Wallace and his gigantic oeuvre supplied the German film industry of the late '50s to the early '70s with a superabundance of material to draw on. Though a huge fan of noir and giallo, this viewer had never seen a krimi film until very recently, and the film in question, 1961's "Dead Eyes of London," would seem to be a nice introduction to the genre. Based on Wallace's 1924 novel "The Dark Eyes of London," the picture is supposedly a remake of a 1939 British filmization, but with what I can only imagine to be more modern and creative touches.In the film, a serial killer(s) has taken to murdering wealthy old men and dumping their bodies in the Thames. The victims, all foreigners who had recently taken out life insurance policies, have ropes strangely tied around their legs, and some are found to have Braille messages on their persons. Inspector Holt of Scotland Yard (played by krimi regular Joachim Fuchsberger, who at this stage in his career resembled a young Tom Brokaw) suspects the criminal organization known as the Blind Men of London, and together with his assistant, the sweater-knitting fusspot Sgt. Harvey (Eddi Aren't), and a beautiful Braille expert (played by Karin Baal), he attempts to crack this case as the body count mounts....As in the film noir, "Dead Eyes of London" features moody B&W photography (the film has been well lensed by DOP Karl Lob), seedy nightclubs, a femme fatale or two, and numerous assorted lowlife characters. As with the giallo, it also features some stunning murderous set pieces, a gloved killer, some gruesome and inventive homicides, and a plot that is complex and twisty...perhaps a bit too much so for its own good. Still, unlike many gialli that I have seen, the story line ultimately DOES make perfect sense, and indeed, the crimes and their motivations are actually fairly ingenious. Director Alfred Vohrer, who would go on to work on 14 krimi films altogether, does a very impressive job here, giving his film a dark, moody feel and adding several astonishing touches. Perhaps most memorable, of course, is the POV shot seemingly taken from within the mouth of a man using a water pick (how a motion picture camera was supposedly inserted, facing out from within a man's mouth, is a matter best left unexamined!), but almost as startling is that close-up shot of another krimi regular, Klaus Kinski, his mirrored shades a study in coolness, and the POV shot, taken from a dead man's perspective, of a crowd of onlookers staring down on him as he lays on a sidewalk. Staking its claim as a bona fide horror film, the picture boasts several scenes guaranteed to chill, including Blind Jack (played by Ady Berber, who here looks so hideously homely that he practically makes Tor Johnson seem handsome!) sneaking into a victim's dwelling place to perpetrate another murder; that gloved killer strangling a girl while a pet parrot squawks hysterically; a particularly well-executed homicide in an elevator shaft; and an imprisonment in a rat-infested, burning cellar. The picture offers welcome bits of painless humor from the Sgt. Harvey character, as well as pieces of inventive freakout music from composer Heinz Funk (love that name!). The resolution of the film's mysteries is a surprising one (at least, I didn't see it coming), and the action climax is one worthy of a "Perils of Pauline" serial. All told, a highly satisfying affair; to see this film is to want to see many more in the krimi genre. Hopefully, "Dead Eyes of London" is just the first of many for this viewer....

MartinHafer "Dead Eyes of London" has some seriously creepy scenes. There's a chute that disposes bodies in river, two close-ups of dead people's faces and a guy falling to his death after a killer stomps on his hands that are holding on for dear life! This is NOT a typical Hollywood film as the American films of this era were a lot less visceral and violent--and the Germans made a scary one.The film involves several killings that are somehow connected to a freaky reverend--a blind one who ministers to a flock of blind men. You aren't sure exactly how he and his ministry is involved through most of the film--but some of the baddies are hiding out in his home for blind men. One is the beastly looking killer who manages to look a lot like Tor Johnson--but a lot uglier! There also is a part by Klaus Kinski--who looks goggle-eyed and crazy throughout the movie. I could say more about the film, but it would spoil the suspense of this horror thriller.Overall, while not a brilliant film (there are a few lulls here and there), it is very difficult not to be pulled into the film--mostly because it's so very brutal. Subtle it ain't--but it is exciting and very, very different.

The_Void The Dead Eyes of London is a film version of a novel by Edgar Wallace and is a part of the "Krimi" series of films; the German answer to the Italian Giallo, all based on books by the aforementioned writer. This novel was actually made into a film several years earlier in 1940 and starring the great Bela Lugosi; having not seen the earlier version, however, I can't say whether or not this version is better. Despite being a big Giallo fan, this is actually the first Krimi film I've seen - and while there were some things I liked about it, I have to say that I am hoping that this is not a great example of the genre as it's not all that good! As the title suggests; the film is set in London and, naturally, focuses on a series of murders and we begin with the murder of a wealthy man. Scotland Yard starts to investigate and the clue soon point to either the killer being blind or having something to do with the blind community. The police dig deeper, while the murders continue, and pretty soon the investigators are lead to a blind institute...This film has two main problems; the plot is largely implausible and the way it plays out is rather boring. The first one of these problems is the lesser of the two; being a fan of Giallo means that I'm used to things not always making perfect sense and I don't mind a wild plot, providing it doesn't get overly silly and it's entertaining to watch. This leads me to the second problem; and that really is a big one. Director Alfred Vohrer (who apparently made a number of "Krimi" films) fails to generate much suspense and the plot is very drawn out and soon the film begins to grate on the viewer. The film seems to want to rely on its atmosphere and while the black and white cinematography does give it a creepy and foreboding feeling, which benefits the film immensely; it's really not enough to carry it all the way to it's conclusion without the film becoming boring. To the film's credit, the ending isn't bad; it provides a satisfying climax to the mystery and wraps things up in a way that is just about believable, but still it doesn't save the film completely. As mentioned, this is my first Krimi film and while I didn't like it much; I am looking forward to checking out more films from this genre.

Mort-31 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.