The Strange Countess (Die seltsame Gräfin), directed by Josef von Báky, is a relatively early entry in Rialto’s wonderful cycle of Edgar Wallace krimis. It was based on Wallace’s 1925 novel of the same name. This is an extremely interesting entry in that cycle.
Margaret Reedle (Brigitte Grothum) is a very ordinary young woman who works in the office of a lawyer named Shaddle. She will soon be leaving this job to take up a position at Canterfield Castle as private secretary to the Countess Moron (Lil Dagover). Yes, Moron. Don’t blame me, that really is her name. Miss Reedle has one more job to do for Mr Shaddle. She has to deliver the release papers for a prisoner named Mary Pinder to a women’s prison. Mary Pinder has been serving a long sentence for murder. She is a poisoner.
Miss Reedle has been getting some strange telephone calls telling her that her time is almost up. She thinks the calls must be coming from a madman. In fact the calls really are being made by a madman. He is Bresset (Klaus Kinski) and he is confined in an asylum but he keeps escaping.
Miss Reedle isn’t worried until someone tries to kill her. There are three attempts made on her life. She has absolutely no idea why anyone would want to kill her. If it hadn’t been for Mike those attempts would have been successful. Mike is Mike Dorn (Joachim Fuchsberger) and Margaret Reedle thinks that he seems like a rather nice man although she is a bit mystified. How does he always manage to turn up at the right moment to save her life?
She hopes that these attempts to kill her will stop when she takes up her new position at Canterfield Castle. Unfortunately she’s wrong.
There’s an uneasy atmosphere at the castle. Everyone there seems a bit strange and they seem like they’re hiding something, which of course they are. The countess is a bit odd. Her son Selwyn (Eddi Arent) is eccentric to say the least. He dreams of going on the stage and spends his free time on mysterious electrical experiments. The butler, Addams, is very sinister. The countess’s financial advisor seems a bit shifty. And then we meet the family doctor, Dr Tappatt (Rudolf Fernau), and he doesn’t seem any too trustworthy.
Quite apart from the odd collection of misfits living at the castle there’s Mike Dorn. He seems trustworthy but Miss Reedle actually knows nothing about him. And there’s still the crazed telephone caller played by Klaus Kinski who just keeps on escaping from the asylum and he is certainly stalking our heroine.
Miss Reedle is no fool but she’s very confused and frightened and we can’t blame her.
It’s a setup that promises plenty of thrills and suspense and The Strange Countess delivers the goods on those fronts.
On the acting side Joachim Fuchsberger was a Krimi regular and was always reliable. Eddi Arent is quite amusing. Klaus Kinski is of course perfect as a murderous madman and he’s in fine creepy form. Brigitte Grothum makes a likeable heroine and gives a very creditable performance.
Even more interesting is the casting of Lil Dagover as the countess. Her remarkable career as a screen actress began in 1916 and lasted until 1979. It included appearances in several very early Fritz Lang movies as well as a starring rôle in one of the great classics of German Expressionism, Robert Wiene’s 1920 The Cabinet of Dr Caligari. And Fritz Rasp, who plays the lawyer Shaddle, had appeared in Lang’s Metropolis in 1927.
These are not the only links to the German Expressionism of the Weimar era. The Strange Countess was shot in the legendary Ufa studio in Berlin.
The horror in this movie (and there is definitely horror in this one) comes not just from the deceptions you expect in a krimi but to an even greater extent from the idea of madness. Many scenes take place in a lunatic asylum. That’s scary enough but what makes it far more chilling is when characters who are not mad end up in the asylum. Some of the characters in this film really are mad, but some have either been deliberately sent mad or made to believe they are mad. Neither Miss Reedle nor the audience can be quite sure which of those categories the other characters fit into. She knows she is not mad but that’s no guarantee she won’t end up in a padded cell in the asylum. Even more terrifying is the thought that she might end up driven to actual madness.
You expect in this sort of movie that at some stage either the hero or the heroine will be locked up by the villain or villains and will have to find a way to escape. In many movies the means of escape prove to be disappointingly contrived but this movie includes a truly ingenious escape.
The Strange Countess is a first-rate krimi with a definite gothic horror vibe and some intriguing nods to the great days of German Expressionism. Highly recommended.
Tobis have provided an excellent transfer on their Blu-Ray release, included in their Edgar Wallace Blu-Ray Edition 6 boxed set. Both English and German language (with English subtitles) options are available for The Strange Countess.