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The Devil's Daffodil (1961)

Das Geheimnis der gelben Narzissen (original title)
A Chinese detective breaks up a drug smuggling ring and tries to find the "Daffodil Killer." The drug smugglers had devised the ingenious method of smuggling heroin from Hong Kong in the stems of daffodils.

Director:

(as Akos von Rathony)

Writers:

, (screenplay) (as Trygve Larsen) | 4 more credits »
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Cast

Complete credited cast:
...
Jack Tarling
...
Jack Tarling (English Version)
...
Anne Ryder (as Sabina Sesselmann)
...
Anne Rider (English Version)
...
Peter Keene
...
Peter Keene (English Version)
...
...
Jan Hendriks ...
Charles
...
Oliver Milburgh
...
Mr. Putek
...
...
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Storyline

A Chinese detective breaks up a drug smuggling ring and tries to find the "Daffodil Killer." The drug smugglers had devised the ingenious method of smuggling heroin from Hong Kong in the stems of daffodils.

Plot Summary | Add Synopsis

Taglines:

The Girl With the Golden Arm... See more »

Genres:

Crime | Drama | Mystery

Certificate:

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Details

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Language:

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Release Date:

20 July 1961 (West Germany)  »

Also Known As:

Daffodil Killer  »

Company Credits

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Technical Specs

Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Christopher Lee was married to his wife Gitte just before production on "The Devil's Daffodil" began. They had no time for a full honeymoon as they only had a weekend before filming began on Mondy. They spent it in Brighton and resolved to have a serial honeymoon spread out over the next year between picture commitments. See more »

Connections

Referenced in Lukas: Mann und Maus (1998) See more »

Soundtracks

Bei mir ist alles nur Natur
by Keith Papworth
Lyrics by Ute Kuntze-Just
Performed by Ingrid van Bergen
(Note: german release)
See more »

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User Reviews

 
THE DEVIL'S DAFFODIL (Akos von Rathony, 1961) ***
10 August 2015 | by (Naxxar, Malta) – See all my reviews

I have still barely scraped the surface of the popular "Krimi" thrillers made in Germany between the late 1950s and the early 1970s; this one – atypically, a British co-production filmed simultaneously (on location in London) in both languages – is, however, easily among the better entries that I have come across. The reasons for this are mainly due to an above-average cast that includes regulars Joachim Fuchsberger and Klaus Kinski, along with the likes of Christopher Lee, Marius Goring, Albert Lieven and Walter Gotell, and the striking monochrome cinematography by the renowned Desmond Dickinson (though the credit titles are appealingly displayed in red).

The expected murder sequences are reasonably well-staged (though an old-wheelchair-bound-woman-falling-downstairs bit is entirely gratuitous!) – one of them, occurring at night in the busy Piccadilly Circus area, is especially evocative of a classic Hitchcockian set-piece; eroticism, another gene requisite, is briefly touched upon here in a titillating nightclub act. By the way, the film was only the second effort I have watched from this director, and the result is certainly a more substantial achievement than CAVE OF THE LIVING DEAD (1964) – its chief liability being the unconvincing screams from the various female victims/damsels-in-distress throughout!

The complex Edgar Wallace (from whose extensive work and that of his son, Bryan Edgar, all these flicks were derived) plot involves the ostensibly harmless importing of the titular flower serving as a front for heroin smuggling; twists relating to the identity of two of its principal characters are belatedly, yet effectively, incorporated into the fray. On the trail of the culprits are airline investigator Fuchsberger and Oriental sleuth Lee (coming across like a more ruthless Charlie Chan – complete with a steady flow of aphorisms, at one point causing a woman particularly unreceptive to his genial wit exclaiming "Sod off, Confucius!" to his face).

Actually, it is amusing to note how the film plays havoc with nationalities – where Germans are not only made to pass off as English, but the only true Brit on hand (albeit speaking in fluent German for the duration) is saddled with an Asian countenance! As for Kinski, he surprisingly plays it cool for the most part – with his signature intensity only emerging at the climax. Interestingly, too, Goring, Lee and Lieven would be reteamed for next year's similarly-titled British espionage thriller THE DEVIL'S AGENT (a recent viewing in my continuing marathon of Lee movies). Incidentally, I recall coming across a small poster of this in an old film scrapbook of my Dad's many years ago under its British moniker...since it was later retitled DAFFODIL KILLER for U.S. consumption.


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