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.
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Title: The Devil's Daffodil (1961)
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Cast
| Complete credited cast: | |||
| Joachim Fuchsberger | ... | Jack Tarling | |
| William Lucas | ... | Jack Tarling (English Version) | |
| Sabine Sesselmann | ... | Anne Ryder (as Sabina Sesselmann) | |
| Penelope Horner | ... | Anne Rider (English Version) | |
| Klaus Kinski | ... | Peter Keene | |
| Colin Jeavons | ... | Peter Keene (English Version) | |
| Ingrid van Bergen | ... | Gloria | |
| Albert Lieven | ... | Raymond Lyne | |
| Jan Hendriks | ... | Charles | |
| Marius Goring | ... | Oliver Milburgh | |
| Peter Illing | ... | Mr. Putek | |
| Walter Gotell | ... | Oberinspektor Whiteside / Supt. Whiteside | |
| Christopher Lee | ... | Ling Chu | |
Edit
Plot Summary
|
Add Synopsis
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.
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A New-Style DETECTIVE STORY! See more »Certificate:
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Details
Release Date:
20 May 1962 (UK) See more »Also Known As:
Daffodil Killer See more »Company Credits
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Technical Specs
Sound Mix:
MonoColor:
Black and WhiteAspect Ratio:
1.66 : 1
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by Keith Papworth
Lyrics by Ute Kuntze-Just
Performed by Ingrid van Bergen
(Note: german release)
See more »
Did You Know?
Trivia
The German and English versions were filmed simultaneously in London. See more »Alternate Versions
Produced in a German and English release, with the same crew but different actors. See more »Soundtracks
Bei mir ist alles nur Naturby Keith Papworth
Lyrics by Ute Kuntze-Just
Performed by Ingrid van Bergen
(Note: german release)
See more »
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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.