Terror in the Fog: The Wallace Krimi at CCC

While the term giallo has burrowed its way into the horror lexicon—complete with box sets, special editions, and even a name-drop in the latest Scream installment—its European antecedent, the krimi, remains largely uncharted territory for most genre fans. A series of German-produced murder mysteries, frequently based on the works of Edgar Wallace, the krimi finally gets a spotlight in “Region A” thanks to Eureka Entertainment, which presents a compelling collection that shows what all the fuss is about.

The Curse of the Yellow Snake (1963) leans closer to the Dr. Mabuse supervillain series, with a mad "oriental" villain (brace yourself for some outdated racism and makeup effects) seeking to fulfill an ancient prophecy that would allow China to dominate the world. Packed with back-stabbings and secret ceremonies, this one feels more like a Hammer adventure than a straightforward mystery.

Things kick off in earnest with The Strangler of Blackmoor Castle (1963), a gothic romp involving stolen diamonds and a masked killer haunting a gloomy British estate. As film scholar Tim Lucas notes in his introduction, krimi emphasize story over style—but this one delivers on both fronts, offering clever twists and a charismatic cast, including future Bond girl Karin Dor.

The Mad Executioners (1963) doubles down on the macabre, weaving two gruesome tales: a secret society of masked judges executes escaped criminals by public hanging, while a separate serial killer stalks young women for bizarre science experiments. The plots converge smoothly in yet another film based on an “idea” by Bryan Edgar Wallace, son of the famed author whose name has become a sort of seal of approval in the krimi world.

But it’s The Phantom of Soho (1964) that most directly links the genre to Italian gialli. In this sordid thriller, detectives track a gloved killer whose victims all carry clues to a larger conspiracy. Set in a seedy red-light district, the film pushes boundaries for its era—nudging toward sexual depravity while dragging upper-class characters through the mud, leaving them bruised and bloodied. Director Franz Gottlieb leans into the sleaze and suspense to memorable effect.

In The Monster of London City (1964), someone is reenacting the crimes of Jack the Ripper, and suspicion falls on the lead actor in a play about the infamous killer. While most of the violence happens off-screen, it’s a striking proto-slasher that makes full use of its fog-shrouded urban setting. The Racetrack Murders (1964) veers toward a lighter tone, with an Agatha Christie-style mystery involving a missing will, shady characters, and a horse named Satan—all imaginatively staged by returning director Franz Gottlieb.

Taken together, Terror in the Fog is an indispensable slice of Euro-cinema, mimicking classic Hollywood thrillers while injecting its own lurid touches: splashy color titles, bursts of violence, and a steady body count. It takes a moment to adjust to the fact that these “British” characters are all speaking German, but the films' focus on class tensions—where the upper crust is often revealed as corrupt—adds an intriguing layer. While it may feel restrained compared to the stylistic excesses of gialli, the krimi offers distinct pleasures all its own.

Limited to 2,000 copies, the set comes housed in a handsome hardbound slipcase and includes a 60-page collector’s booklet with detailed notes on each film. All five main features have been restored in 2K from original film elements (with The Phantom of Soho sourced from an SD master that still looks surprisingly good). Perhaps the most impressive aspect of Eureka’s release is the wealth of extras: film scholar Tim Lucas introduces each film with insightful commentary that traces the genre’s evolution, supplemented by visual essays exploring connections to gialli and slasher films. Additional interviews examine the careers of Edgar and Bryan Edgar Wallace, along with full-length expert commentaries. It’s a true masterpiece of German engineering.