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Face of the Frog (1959)
"Der Frosch mit der Maske" (original title)

6.3
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Ratings: 6.3/10 from 511 users  
Reviews: 9 user | 7 critic

Both Scotland Yard and an amateur American sleuth are tracking a master criminal known as The Frog. This moniker refers to the bulging-eyed mask worn by the evildoer, and is reflected by ... See full summary »

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(novel), (script), 1 more credit »
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Cast

Cast overview, first billed only:
Joachim Fuchsberger ...
Richard Gordon
Elfie von Kalckreuth ...
Ella Bennet (as Eva Anthes)
Jochen Brockmann ...
Carl Lange ...
John Bennet (as Karl Lange)
Dieter Eppler ...
Joshua Broad
Eva Pflug ...
Lolita
Walter Wilz ...
Ray Bennet
Fritz Rasp ...
Ezra Maitland
Erwin Strahl ...
Sergeant Balder aka Nummer 7 (German version) / Sergeant Barclay aka Number 7 (English version)
Ernst Fritz Fürbringer ...
Sir Archibald (as Ernst W. Fürbringer)
Eddi Arent ...
James
Ulrich Beiger ...
Everett
Reinhard Kolldehoff ...
Lew Brady
Michel Hildesheim ...
Mills
Charlotte Scheier-Herold ...
Lady Maggie Farnsworth (German version) / Lady Aubrid Farnsworth (English version)
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Storyline

Both Scotland Yard and an amateur American sleuth are tracking a master criminal known as The Frog. This moniker refers to the bulging-eyed mask worn by the evildoer, and is reflected by the frog icons painfully tatooed onto the forearms of his henchmen. The trail leads to the country manor of an enigmatic, steely-eyed nabob, whose repressed son has eyes for the artistes at the Lolita cabaret, and whose lovely daughter captures the fancy of both the American playboy and the villain himself. Murder, kidnapping and seduction ensue. Written by GoblinHairedGuy

Plot Summary | Add Synopsis

Taglines:

Es ist unmöglich von Edgar Wallace nicht gefesselt zu sein See more »

Genres:

Crime | Thriller

Certificate:

See all certifications »
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Details

Country:

|

Language:

Release Date:

4 April 1960 (Denmark)  »

Also Known As:

Face of the Frog  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Most of the outdoor scenes were shot in Denmark. See more »

Goofs

When inspector Elk/Hedge is riding in the Double Decker Bus near the beginning of the film, the signs near his window are mirror inverted, indicating a flipped shot. They obviously shot the scene (in front of a very obvious rear-projection) as if driving from left to right but found out that it didn't intercut well with the outside shot of the real bus going the other way. See more »

Connections

Referenced in Pastewka: Die Strategie der Schnecke (2006) See more »

Soundtracks

Nachts im Nebel an der Themse
Music by Karl Bette
Text by Theo Maria Werner (as Theo M. Werner) and Hans Billian
Performed by Eva Pflug (dubbed by unknown)
See more »

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User Reviews

It all started here...
3 March 2004 | by (Montreal) – See all my reviews

This was the first of the long-running German "krimi" series based on the mysteries of Edgar Wallace (actually, there were two simultaneous series from rival companies, the other based on the works of the author's son Bryan). As Tim Lucas and other astute critics have pointed out, the films were the precursors of the Italian giallos and ultimately the slasher pictures of the 70s and 80s. They also have obvious stylistic links to the superhero and superspy action genres of the 60s.

Most of the key elements of the series already appear in this effort -- the foggy Soho underworld settings; the cabaret shows (which became progressively sleazier); the archvillain with his bizarre modus operandi and grotesque henchmen; the clever, persevering but underappreciated Scotland Yard inspector; the flippant comic antics of Eddie Arent (here appearing as the consummate English butler with Kato leanings) who is always smarter than he seems; the statuesque ingenues; the unfathomable plots featuring dozens of red herrings; and the quite violent-for-the-time stalk-and-murder sequences. Later the series would rely more on flashy camera tricks and tongue-in-cheek stylistics (especially under Alfred Vohrer's nifty direction), but here the proceedings are mainly played straight. Harald Reinl's work was always atmospheric but rather stiff in its mise-en-scene and ragged in continuity. However, this film features quite a sadistic, eye-opening ending that seems to have wandered in from a Jess Franco opus. Well worth a look, especially for amateur film historians.


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