Dead Eyes of London
(1961)
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Dead Eyes of London
(1961)
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| Complete credited cast: | |||
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Joachim Fuchsberger | ... |
Inspektor Larry Holt
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Karin Baal | ... |
Eleanor "Nora" Ward, geb. Finlay
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Dieter Borsche | ... |
David Judd /
Mr. Lennox /
Reverend Paul Dearborn
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Wolfgang Lukschy | ... |
Stephan Judd
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Eddi Arent | ... |
Sergeant /
Inspektor S. "Sunny" Harvey
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Anneli Sauli | ... |
Fanny Weldon
(as Ann Savo)
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Bobby Todd | ... |
Lew Norris
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Franz Schafheitlin | ... |
Sir John
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Ady Berber | ... |
Jacob "Der blinde Jack" Farrell
(as Adi Berber)
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Harry Wüstenhagen | ... |
Fred "Flimmer-Fred" (German version) /
Flicker-Fred (English version)
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Rudolf Fenner | ... |
Matthew "Matt" Blake
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Hans Paetsch | ... |
Gordon Stuart
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Ida Ehre | ... |
Ella Ward
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Fritz Schröder-Jahn | ... |
Sir John Archibald
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| Klaus Kinski | ... |
Edgar Strauss
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Wealthy, heavily insured men are being murdered at an alarming rate. Scotland Yard investigates and finds clues that lead to a ring of blind men, led by a mysterious "reverend."
"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.