Read Ebook {PDF EPUB} Selected Novels by Edgar Wallace Edgar Wallace. Sharon and her husband have been in the used and rare mystery book business for 17 years, but Sharon has been reading classic mysteries for more than half a century - from Agatha Christie, Arthur Conan Doyle, Dorothy Sayers, to Dashiell Hammett and many more. Before there was Tom Clancy or Stephen Coonts, before Robin Cook or James Patterson, before Helen MacInnes or Alistair MacLean, before them all was (Richard) (Horatio) Edgar Wallace (1875-1932), the inventor of the modern thriller. Wallace, raised in the slums of southeast London, had a varied career after finishing school. He worked in a printing firm, a shoe shop, a rubber factory, as a merchant seaman, a plasterer and a milk delivery boy. He served in the Royal West Kent Regiment in England (1893-1896) and the Medical Staff Corps in South Africa (1896-1899). His writing career began, as with so many authors, in journalism. As special correspondent for Reuters news agency (1899-1902) and London’s Daily Mail (1900-1902), he saw the Boer War in South Africa first hand. Wallace continued to write for newspapers until his death in 1932. Edgar Wallace was an incredibly prolific writer, producing over 200 works - including 170 novels - in addition to his newspaper articles. His first book, The Mission That Failed !, A tale of the Raid, and Other Poems , was published in 1898 and his last one in 1932. Most of his novels are thrillers. Though very popular with readers, Wallace faired less well with critics who pointed out the unseemliness of an author polishing off a novel over the weekend. His frenetic pace led to errors such as mid-book name changes, gaps in plotting, and - according to his critics - massive use of cliche. Since Wallace originated many of the now trite thriller terms and situations, that last accusation is probably inaccurate. Colin Watson, writing in Snobbery with Violence: Crime Stories and their Audience , conceded that “trying to assess Wallace’s work in literary terms would be as pointless as applying sculptural evaluation to a load of gravel.” But that, of course, is not the point. The point is that Edgar Wallace had an uncanny awareness of what the Fin de Siecle and World War I generations wanted to read. By 1906 when Wallace’s first crime novels appeared, there were serious rumblings in Britain’s Empire on which the sun never set; a war between Germany and Britain was expected in the near future; France, Italy and the Balkans were in ferment; and the United States of America was the brash new kid on the block. In short, the world was changing much more rapidly than was comfortable for a lot of folks, the security of Queen Victoria’s long reign was gone, and things were going to get worse before they got better. When the world is going to Hell in a handbasket, Wallace’s stories are very reinforcing. They are full of terrifyingly malignant criminals with massive intellects, frighteningly mysterious events and sometimes excessively twisty plots. But in the end, the sleuth, a pretty ordinary-type good guy triumphs in a self-deprecating way and the criminal receives his justly severe punishment. The Crimson Circle, The India Rubber Man , and Terror Keep are perfect examples of Wallace’s ability to create a really scary sense of menace from an unknown quarter until the sleuth solves the puzzle and the fear dissipates like mist on a hot day. Every bit as enjoyable as the storyline is the sub-text of British culture. Each Wallace novel is a mini social history text, recalling a time, place, and set of mores that are no more. Taken in order they offer insights into the span of time from 19th century global king pin to post-World War I existentialism and economic depression. How wonderful to step back to a time when master criminals, unknown poisons, and terror in the fog were the scariest things on tap. Edgar Wallace (34 books) Richard Horatio Edgar Wallace (April 1, 1875–February 10, 1932) was a prolific British crime writer, journalist and playwright, who wrote 175 novels, 24 plays, and countless articles in newspapers and journals. Over 160 films have been made of his novels, more than any other author. In the 1920s, one of Wallace's publishers claimed that a quarter of all books read in England were written by him.… (more) Richard Horatio Edgar Wallace (April 1, 1875–February 10, 1932) was a prolific British crime writer, journalist and playwright, who wrote 175 novels, 24 plays, and countless articles in newspapers and journals. Over 160 films have been made of his novels, more than any other author. In the 1920s, one of Wallace's publishers claimed that a quarter of all books read in England were written by him. (citation needed) He is most famous today as the co-creator of "King Kong", writing the early screenplay and story for the movie, as well as a short story "King Kong" (1933) credited to him and Draycott Dell. He was known for the J. G. Reeder detective stories, The Four Just Men, the Ringer, and for creating the Green Archer character during his lifetime. Edgar Wallace. Author. He worked for many years as a journalist, but with his first mystery novel "The Four Just Men" (1905), he obtained a great success. In 1915, he wrote his first script, "Nurse and Martyr" and this year were released eight silent films from his stories at the rate of one a month. Wallace also directed the motion pictures "" (1929) and "" (1930). Eventually writing more then 150 novels, among his better known books are "The Ringer," "The Case of the Frightened Lady" and "." He died in Hollywood, California in 1932 while working on the screenplay of "King Kong" (1933). A memorial plaque was erected for him on a building at the corner of Fleet Street in London, England, near where he sold newspapers as a boy in Ludgate Circus. Author. He worked for many years as a journalist, but with his first mystery novel "The Four Just Men" (1905), he obtained a great success. In 1915, he wrote his first script, "Nurse and Martyr" and this year were released eight silent films from his stories at the rate of one a month. Wallace also directed the motion pictures "Red Aces" (1929) and "The Squeaker" (1930). Eventually writing more then 150 novels, among his better known books are "The Ringer," "The Case of the Frightened Lady" and "The Calendar." He died in Hollywood, California in 1932 while working on the screenplay of "King Kong" (1933). A memorial plaque was erected for him on a building at the corner of Fleet Street in London, England, near where he sold newspapers as a boy in Ludgate Circus. Family Members. Bryan Edgar Wallace. Michael Blair Leon Wallace. Flowers. See more Wallace memorials in: How famous was Edgar Wallace? What was Edgar famous for? Sign-in to cast your vote. Maintained by: Find a Grave Originally Created by: José L Bernabé Tronchoni Added: 20 Oct 2004 Find a Grave Memorial 9683672 Source Hide citation. Add Photos for Edgar Wallace. Fulfill Photo Request for Edgar Wallace. Photo Request Fulfilled. Thank you for fulfilling this photo request. An email has been sent to the person who requested the photo informing them that you have fulfilled their request. Edgar Wallace. TO all outward appearance, Douglas Camp¬bell was a dour and possibly a short-tempered man of forty-eight, tall and broad of shoulder. He had what women describe as a bad-tempered face, since, through no fault of his own, his eyebrows met. As chairman and general manager of the Federated Assurances it was only right and proper that he should be credited with a total absence of any sense of humour. He was, as all who have met him will testify, a grave and serious man, who used precise language cautiously. He sat at his table one spring morning reading his correspondence. Presently he put the letters down and looked at his watch. "I am expecting Mr. Robert Brewer in a few minutes," he said. . The Standard History of the War Vol. I. Edgar Wallace. IT is unnecessary within the scope of this volume to do more than sketch the events which led to a condition of war between Great Britain, France, Russia, Belgium and Servia on the one part, and Germany and Austria- Hungary on the other. The assassination of the Archduke Franz Ferdinand and his consort at Sarajevo, on July 25, was the ostensible reason for the presentation of the Austro- Hungarian note to Servia. This made demands upon Servia with which no self- governing state could comply, and was followed by military preparations in the dual kingdom. Russia, who saw in these demands an oblique challenge to her as guardian of the Slav peoples, at once began to move. But at the. The Four Just Men. Edgar Wallace. IF you leave the Plaza del Mina, go down the narrow street, where, from ten till four, the big flag of the United States Consulate hangs lazily; through the square on which the Hotel de la France fronts, round by the Church of Our Lady, and along the clean, narrow thoroughfare that is the High Street of Cadiz, you will come to the Café of the Nations. At five o'clock there will be few people in the broad, pillared saloon, and usually the little round tables that obstruct the sidewalk before its doors are untenanted. In the late summer (in the year of the famine) four men sat about one table and talked business. Leon Gonsalez was one, Poiccart was another, George Manfred was a n. The Law of the Four Just Men. Edgar Wallace. "THE jury cannot accept the unsupported suggestion—unsupported even by the prisoner's testimony since he has not gone into the box— that Mr. Noah Stedland is a blackmailer and that he obtained a large sum of money from the prisoner by this practice. That is a defence which is rather ted by the cross-examination than by the production of evidence. The defence does not even tell us the nature of the threat which Stedland employed. " The remainder of the summing up was creditable to the best traditions of the Bar, and the jury, without retiring, returned a verdict of "Guilty". There was a rustle of movement in the court and a thin babble of whispered talk as the Judge fixed his pi. The Fighting Scouts. Edgar Wallace. LIEUTENANT BAXTER was writing letters home and, at the moment Cornish came into the mess-hut, was gazing through the window with that fixed stare which might indicate either the memory of some one loved and absent or a mental struggle after the correct spelling of the village billets he had bombed the night before. Cornish, who looked sixteen, but was in reality quite an old gentleman of twenty, thrust his hands into his breeches pockets and gazed disconsolately round before he slouched across to where Baxter sat at his literary exercises. “I say,” said Cornish in a complaining voice, “what the devil are you doing?” “Cleaning my boots,” said Baxter without looking up; “didn’t yo. The Crook in Crimson. Edgar Wallace. IN the dusk of the evening the waterman brought his skiff under the overhanging hull of the Baltic steamer and rested on his oars, the little boat rising and falling gently in the swell of the river. A grimy, unshaven, second officer looked down from the open porthole and spat thoughtfully into the water. Apparently he did not see the swarthy-faced waterman with the tuft of grey beard, and as apparently the waterman was oblivious of his appearance. Presently the unshaven man with the faded gold band on the wrist of his shabby jacket drew in his head and shoulders and disappeared. A few seconds later a square wooden case was heaved through the porthole and fell with a splash in th. . Edgar Wallace. IT is not for you or me to judge Manfred and his works. I say 'Manfred', though I might as well have said 'Gonsalez', or for the matter of that 'Poiccart', since they are equally guilty or great according to the light in which you view their acts. The most lawless of us would hesitate to defend them, but the greater humanitarian could scarcely condemn them. From the standpoint of us, who live within the law, going about our business in conformity with the code, and unquestioningly keeping to the left or to the right as the police direct, their methods were terrible, indefensible, revolting. It does not greatly affect the issue that, for want of a better word, we call them crimin. Tam'o the Scoots. Edgar Wallace. LIEUTENANT BRIDGEMAN went out over the German line and "strafed" a depot. He stayed a while to locate a new gun position and was caught between three strong batteries of Archies. "Reports?" said the wing commander. "Well, Bridgeman isn't back and Tam said he saw him nose-dive behind the German trenches." So the report was made to Headquarters and Headquarters sent forward a long account of air flights for publication in the day's communiqué, adding, "One of our machines did not return." "But, A' doot if he's killit," said Tam; "he flattened oot before he reached airth an' flew aroond a bit. Wi' ye no ask Mr. Lasky, sir-r, he's just in?" Mr. Lasky was a bright-faced lad who, in o. Smithy, Nobby and Co. Edgar Wallace. "The officer," said Private Smithy, of the 1st Anchesters, "is a new officer. It isn't the new kind of uniform, or the new Salvation Army cap, or the new silly way of wearing his shoulder sash. He's a changed officer, if you understand. He don't look no different, and in many ways he's not altered a bit. He still plays polo an' bridge—what's bridge?" I explained. "Well, he still does all these things just about as much as ever he did, but I tell you 'e's an astounding blighter in many ways." "It ain't so long ago," reflected this monunment of the First Army Corps, "when officers used to come on parade at 10 a.m.—commanding officers' parade drill order—and we used to look at 'em . Smithy. Edgar Wallace. MILITARY "crime" is not crime at all, as we law-abiding citizens recognize it. The outbreak in the Anchester Regiment was not a very serious affair; from what I can gather, it mostly took the form of breaking out of barracks after "lights out." But, explained Smithy, it got a bit too thick, and one of the consequences was that the guard was doubled, pickets were strengthened, and the ranks of the regimental military police were, as a temporary measure, considerably augmented. I explain this for the benefit of my military readers, who may wonder how it was that both Smithy and Nobby Clark happened to be together on Number One post on the night of The Adjutant's Madness. "I was te. Smithy and the Hun. Edgar Wallace. “THE worst of being a mug,” said Private Smith, “is that you usually look it. That ain’t my point of view, an’ it’s not original, bein’ the idea of one of the grandest lawyers that ever went into the Army. This chap’s name was Grassy, and he joined our battalion owin’ to some trouble he’d had with his girl. “Offen and offen he’s told me an’ Nobby the story. “‘It was like this,’ he sez. ‘Me an’ Miss So-an’-so was engaged, an’ one night me an’ her met at So-an’-so’s. I happened to remark so- an’-so, and she up an’ said so-an’-so, an’ finished up by tellin’ me that I was so-an’-so so- an’- so. “‘After them illuminatin’ remarks of yourn,’ sez Nobby admirin’ly, ‘I can’t see what else. . Edgar Wallace. In cold weather, and employing the argot of his companions Johnny Gray translated this as "Parky Subjects" — it certainly had no significance as "Spare the Vanquished" for he had been neither vanquished nor spared. Day by day, harnessed to the shafts, he and Lal Morgon had pulled a heavy hand-cart up the steep slope, and day by day had watched absently the redbearded gate-warder put his key in the big polished lock and snap open the gates. And then the little party had passed through, an armed warder leading, an armed warder behind, and the gate had closed. And at four o'clock he had walked back under the archway and waited whilst the gate was unlocked and the handcart admitted. . Nobby. Edgar Wallace. SMITHY sat on the canteen table swinging his legs, and all that was best, brightest, and most noble in the First Battalion of the Anchester Regiment sat round listening. The glow of sunset lingered in the sky, but blue dusk sat on the eastern side of the barrack square; where, in the shade of the tall oaks—those oaks that had waved and rustled just as bravely when Clarendon of the 190th was preparing the regiment for the Peninsular Wars—the low-roofed married quarters twinkled with lights. A bugle call interrupted the narrative of the raconteur; a sharp, angry, slurred call that sent two of the company at a jog trot to the guard-room. But the interruption furnished at once a tex. Educated Evans. Edgar Wallace. INSPECTOR PINE was something more than an Inspector of Police. He was what is known in certain circles as a Christian man. He was a lay preacher, a temperance orator, a social reformer. And if any man had worked hard to bring Educated Evans to a sense of his errors, that man was Inspector Pine. He had wrestled with the devil in Mr. Evans' spiritual make-up, he had prayed for Mr. Evans, and once, when things were going very badly, he had induced Mr. Evans to attend what was described as "a meeting of song and praise." Educated Evans respected the sincerity of one whom he regarded as his natural enemy, but discovering, as he did, that a "meeting of praise and song" brought him no . Bosambo of the River. Edgar Wallace. MANY years ago the Monrovian Government sent one Bosambo, a native of the Kroo coast and consequently a thief, to penal servitude for the term of his natural life. Bosambo, who had other views on the matter, was given an axe and a saw in the penal settlement—which was a patch of wild forest in the back country—and told to cut down and trim certain mahogany trees in company with other unfortunate men similarly circumstanced. To assure themselves of Bosambo's obedience, the Government of Liberia set over him a number of compatriots, armed with weapons which had rendered good service at Gettysburg, and had been presented to the President of Liberia by President Grant. They were pict. Edgar Wallace ebooks free download - Download Edgar Wallace 's ebooks free in PDF, EPUB and Kindle formats. Edgar Wallace and the German Krimi. Chris D. delves into the shadowy world of a mysterious subgenre. 1960s GERMAN KRIMI GENRE BLENDED NOIR, SUSPENSE AND HORROR. The crime film genre known as krimi originated in late 1950s Germany, then continued throughout the 1960s (its box office growth period in Europe) and into the next decade before finally, gradually evaporating in the early-1970s. The borrowing of various elements from other genres, particularly film noir imagery, conventional mystery whodunits, police procedurals and even horror was initially inspired by the works of two British writers, Edgar Wallace (1875 – 1932, and very popular in the 1920s) and his son, Bryan Edgar Wallace (1904 – 1971). For the most part, both Wallaces (especially the elder) specialized in conventional, often creepy whodunits, locked room mysteries, sometimes utilizing the soon-to-be- popular Agatha Christie gimmick of a number of people with questionable identities gathering at a mansion or castle and being picked off one-by- one as revenge for some real or imagined transgression against the killer. Many Edgar Wallace tales (and krimis ) also featured secretive, flamboyant, super villains (sometimes masked), an archetype which would later become a staple of the explosion of spy movies in the mid-to-late 1960s. author Edgar Wallace. Edgar Wallace-penned works made inroads into German movie houses in the early 1930s and achieved modest success. A number of Edgar Wallace stories found their way to American screens in the 1920s-1930s, produced by American or British companies (before the later German boom of the sixties). Surely Wallace’s most well-known credit is being the originator and co-screenwriter (under producer-director, Merian C. Cooper’s supervision) of King Kong . Tragically, Wallace was diagnosed with diabetes, experienced a swift deterioration and died at the relatively young age of 56 in February of 1932, before the last draft of the script could be completed. Dark Eyes of London (1939) Most memorable of the original Wallace crime pictures are the pre-code, The Menace (1932), adapted from Edgar Wallace’s novel, The Feathered Serpent , directed by Roy William Neill and co-starring Bette Davis, and the 1939 British production, The Dark Eyes of London (from Wallace’s crime novel of the same name), starring Bela Lugosi. Director Walter Summers emphasized the macabre elements and added material to make the picture more of a horror vehicle. It was reportedly the first film rated by the British Censors as “H” for Horrific. Here in America it was released by poverty row company Monogram Pictures in 1940, under the title The Human Monster , and it proved a late night staple on American television all through the 1960s. Rialto Films (who we’ll get to shortly) remade it in Germany in 1961 as The Dead Eyes of London , directed by the burgeoning, prolific krimi practioner, Alfred Vohrer, and it remains a gruesomely atmospheric mystery/horror saga, co-starring Joachim Fuchsberger as the intrepid Scotland Yard inspector (a role he was soon to play repeatedly in the krimi genre), Klaus Kinski and the hulking Ady Berber as scary brute killer, Blind Jack. Face of (1959) A Danish-based company, Rialto Films, decided to adapt an Edgar Wallace novel in 1959, co-producing with Germany’s Constantin Films, aimed at the German market. Harald Reinl directed the title, Face of the Frog (aka Fellowship of the Frog ) – the Frog in question being the titular villain – which was a smash at the box office, and this spurred Rialto to buy up the rights to most of Edgar Wallace’s vast catalogue of novels and short stories. Krimi titles were cranked out by Rialto all during the sixties, with Alfred Vohrer (14 titles) and Harald Reinl (5 titles, though it may be many more) being the most prolific filmmakers. Actress Karin Dor, Reinl’s then spouse, co-starred in many krimis and achieved some wider international exposure in Alfred Hitchcok’s Topaz and Lewis Gilbert’s James Bond epic, You Only Live Twice. Reinl was also known for directing a number of German westerns from very popular German adventure author, Karl May. Perhaps Reinl’s most well-remembered film is not a krimi , but an atmospheric Gothic horror/fantasy known as The Torture Chamber of Dr. Sadism , which borrowed heavily from a number of genres including witch-hunting films, Edgar Allan Poe’s short story, The Pit and the Pendulum and Bram Stoker’s novel, Dracula. Christopher Lee is Count Regula, a devil-worshipping nobleman drawn-and-quartered for practicing alchemy and black magic, then revived decades later by his undead servant when the descendants (played by Lex Barker and Karin Dor) of his persecutors are lured to his castle. Sadly, director Reinl’s life ended in rather macabre fashion in 1986 when he was stabbed to death by his third wife, Czech actress Daniella Delis. Drops of Blood (1960) / Confess, Dr. Corda (1958) double feature poster. Often accused of jumping on the krimi bandwagon after Railto’s success with Face of the Frog (1959), Rialto’s rivals, producer Artur Brauner’s CCC Films, had already done several pictures with what would become known as krimi genre elements (though not as formulaic) a bit earlier in the decade. Confess, Dr. Corda (1958), directed by Josef von Baky, with Hardy Kruger, It Happened in Broad Daylight (1958), directed by Ladislao Vajda, about a police detective on the trail of a serial child killer, and The Black Chapel (1959), directed by Ralph Habib, with Peter van Eyck, Dawn Addams and Werner Peters, either preceded or were concurrent with Face of the Frog’ s release. The Thousand Eyes of Dr. Mabuse (1960) Brauner, who had already produced director Fritz Lang’s comparatively lavish adventure pictures, The Tiger of Eschnapur and its sequel, The Indian Tomb , in 1959, persuaded maestro Lang to revive his creation, the super villain Dr. Mabuse (who originated in Lang’s films, Dr. Mabuse The Gambler (1922) and Testament of Dr. Mabuse (1933). The Thousand Eyes of Dr. Mabuse (1960), helmed by Lang and starring Peter van Eyck, Dawn Addams, Gert Frobe and Wolfgang Preiss (as Mabuse), fit right into the mushrooming krimi craze and remains one of the genre’s most transcendental achievements. The Lang revival of Mabuse was popular enough to spawn five sequels in the early 1960s, though Harald Reinl, Paul May, Werner Klingler and Hugo Fregonese directed these others. All fit squarely into the krimi genre, albeit the initial entries, particularly Return of Dr. Mabuse and The Invisible Dr. Mabuse , both directed by Reinl, were a bit superior in writing and execution than the subsequent Mabuse efforts and many of the more generic krimi movies then in circulation. (see below filmographies for all the 1960s Mabuse titles). The Mad Executioners (1963) The years,1963 and 1964, saw Brauner and his CCC Films branching out into more traditional krimi territory. Slightly hamstrung by Rialto Films owning the copyright to the majority of Edgar Wallace’s works, they hit upon the logical solution, tapping into the writing done by his son, Bryan Edgar Wallace, hoping for the potential audience to be lured by the familial connection. This resulted in a few of the more outrageous krimis of the time, including The Mad Executioners (1963), The Monster of London City (1964) and The Phantom of Soho (1964), all produced by CCC Films, receiving theatrical releases in the United States (while most of Rialto and CCC’s krimi pictures went straight-to-syndicated-American-TV). Although not quite as prolific as his wunderkind father, Bryan Edgar Wallace continued to write and be associated with the genre, and reportedly worked (uncredited) with Dario Argento in developing the scenario of Argento’s second film, the giallo, Cat O’Nine Tails (1971). The Monster of London City (1964) Although krimis had initially been lensed in noirish black-and-white, after 1966 the majority of krimis were filmed in color. Krimis started to fall by the wayside as a viable movie genre in the early 1970s, but they were enormously influential on another type of Euro crime thriller, the Italian giallo , starting from as early as 1963. The Italian giallo incorporated more sex, violence, bizarre fashions, delirious murder setpieces and surreal color compositions as the genre progressed from the late 1960s through the end of the 1970s, and Italy co-produced a great number of them with Spanish, German and French movie companies (see below for a very short filmography of some of the Italian/West German co-productions). It should be noted that Fred Olen Ray’s DVD label, Retromedia, released a number of dubbed-in-English krimis (including several of the 1960s Dr. Mabuse series) here in America. Selected Filmography of Notable Krimis. Face of the Frog (aka Fellowship of the Frog) (1959) Dir. Harald Reinl, w/ Joachim Fuchsberger, Carl Lange. The Terrible People (1960) Dir. Harald Reinl, w/ Karin Dor, Fritz Rasp. (1960) Dir. Karl Anton, w/ Klaus Kinski, Heinz Drache, Ingrid van Bergen. Dead Eyes of London (1961) Dir. Alfred Vohrer, w/ Karin Baal, Klaus Kinski. The Devil’s Daffodil (1961) Dir. Akos Rathony, w/ Christopher Lee, Klaus Kinski. The Carpet of Horror (1962) Dir. Harald Reinl, w/ Joachim Fuchsberger, Karin Dor, Werner Peters. The Inn on the River (1962) Dir. Alfred Vohrer, w/ Joachim Fuchsberger, Klaus Kinski. The Squeaker (1963) Dir. Alfred Vohrer, w/ Heinz Drache, Klaus Kinski, Barbara Rutling. The Strangler of Blackmoor Castle (1963) Dir. Harald Reinl, w/ Hans Reiser, Karin Dor. The Mad Executioners (1963) Dir. Edward Zbonek, w/ Wolfgang Preiss, Maria Perschy. The Curse of (1963) Dir. Franz Josef Gottlieb, w/ Pinkas Braun, Joachim Fuchsberger, Werner Peters. The Indian Scarf (1963) Dir. Alfred Vohrer, w/ Heinz Drache, Klaus Kinski. The Black Abbott (1963) Dir. Franz Josef Gottlieb, w/ Joachim Fuchsberger, Klaus Kinski. The White Spider (1963) Dir. Harald Reinl, w/ Joachim Fuchsberger, Karin Dor, Horst Frank. The Monster of London City (1964) Dir. Edward Zbonek, w/ Marianne Koch. The Phantom of Soho (1964) Dir. Franz Josef Gottlieb, w/ Peter Vogel, Werner Peters. The Sinister Monk (1965) Dir. Harald Reinl, w/ Karin Dor. The Hunchback of Soho (1966) Dir. Alfred Vohrer, w/ Pinkas Braun. Strangler of the Tower (1966) Dir. Hans Mehringer, w/ Ady Berber. Creature with the Blue Hand (1967) Dir. Alfred Vohrer, w/ Klaus Kinski, Carl Lange. The College Girl Murders (1967) Dir. Alfred Vohrer, w/ Uschi Glas, Joachim Fuchsberger. The Dr. Mabuse Film Series (the 1960s krimi movie series only) The 1,000 Eyes of Dr. Mabuse (1960) Dir. Fritz Lang, w/ Peter van Eyck, Gert Frobe, Dawn Addams, Wolfgang Preiss (West German/Italian/French co-production) The Return of Dr. Mabuse (1961) Dir. Harald Reinl, w/ Gert Frobe, Lex Barker, Daliah Lavi, Wolfgang Preiss (West German/Italian/French co- production) The Invisible Dr. Mabuse (1962) Dir. Harald Reinl, w/ Lex Barker, Wolfgang Preiss, Karin Dor. The Testament of Dr. Mabuse (aka of Dr. Mabuse) (1962) Dir. Werner Klingler, w/ Gert Frobe, Senta Berger, Wolfgang Preiss (a remake of Fritz Lang’s 1933 film) Scotland Yard vs. Dr. Mabuse (1963) Dir. Paul May, w/ Peter van Eyck, Werner Peters, Klaus Kinski, Wolfgang Preiss, Walter Rilla. The Death Ray of Dr. Mabuse (aka The Secret of Dr. Mabuse) (1964) Dir. Hugo Fregonese, w/ Peter van Eyck, Yvonne Furneaux, Claudio Gora, Wolfgang Preiss (West German/Italian/French co-production) Italian/West German Co-Productions ( Giallo + Krimi = Hybrids) Screams in the Night (aka The Unnaturals) (1969) Dir. Antonio Margheriti, w/ Joachim Fuchsberger, Marianne Koch. (aka Liz and Helen) (1969) Dir. Riccardo Freda, w/ Klaus Kinski, Christiane Kruger, Margaret Lee. The Bird with the Crystal Plumage (1970) Dir. Dario Argento, w/ Tony Musante, Suzy Kendall, Eva Renzi. The Cat O’Nine Tails (1971) Dir. Dario Argento, w/ James Franciscus, Karl Malden, Catherine Spaak. What Have You Done to Solange? (1971) Dir. Massimo Dallamano, w/ Fabio Testi, Karin Baal, Joachim Fuchsberger, Cristina Galbo. The Bloodstained Butterfly (1971) Dir. Duccio Tessari, w/ Helmut Berger, Evelyn Stewart. Seven Bloodstained Orchids (1971) Dir. Umberto Lenzi, w/ Rossella Falk, Antonio Sabato, Uschi Glas, Marisa Mell. The Dead Are Alive (aka The Etruscan Kills Again) (1972) Dir. Armando Crispino, w/ Alex Cord, Samantha Eggar, Nadja Tiller, John Marley. Seven Deaths in the Cat’s Eye (1973) Dir. Antonio Margheriti, w/ Serge Gainsbourg, Jane Birkin, Anton Diffring. Chris D. is a former programmer (1999 – 2009) for the American Cinematheque in Hollywood and is the author of two non-fiction film books Outlaw Masters of Japanese Film (2005) and Gun and Sword: An Encyclopedia of Japanese Gangster Films 1955 – 1980 (2013). He wrote chapters on filmmakers Joseph Losey and Otto Preminger for Alain Silver and James Ursini’s book, Film Noir – The Directors . He has also written 5 novels, a short story collection and a chapter for the just-released Under the Big Black Sun by John Doe & Tom DeSavia. In addition, Chris D. is singer/songwriter for the bands, The Flesh Eaters and Divine Horsemen .