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Room 13 (1964)

Zimmer 13 (original title)
A serial-killer is murdering the ladies of a night club. Detective Gray is seeking for the killer but can only find a lot of gangsters. And the killer is about to act again...


Harald Reinl


Edgar Wallace (novel), Will Tremper (as Quentin Philips)


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Complete credited cast:
Joachim Fuchsberger ... Johnny Gray
Karin Dor ... Denise
Richard Häussler ... Joe Legge
Walter Rilla ... Sir Marney
Siegfried Schürenberg Siegfried Schürenberg ... Sir John
Kai Fischer ... Pia Pasani
Benno Hoffmann Benno Hoffmann ... Blackstone-Edward
Bruno W. Pantel Bruno W. Pantel ... Sergeant Horse
Kurd Pieritz Kurd Pieritz ... Inspektor Terrence (as Curd Pieritz)
Erik Radolf Erik Radolf ... Ambrose (as Eric Radolf)
Eddi Arent ... Dr. Higgins
Hans Clarin ... Mr. Igle


A serial-killer is murdering the ladies of a night club. Detective Gray is seeking for the killer but can only find a lot of gangsters. And the killer is about to act again... Written by Volker Boehm

Plot Summary | Add Synopsis


Thriller | Crime | Drama


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West Germany | Denmark | France



Release Date:

12 October 1964 (Denmark) See more »

Also Known As:

Room 13 See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (Klangfilm-Eurocord-Magnetocord)

Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


First film of Rialto Film's Edgar Wallace series to receive an 18 Rating. Many blamed the film's commercial failure on this rating as the series was intended to mainly attract young audiences. See more »


The scenes playing at Paddington Station, where filmed in Denmark. There is one scene where Sir John and Joe Legge meet. For a short moment, behind Sir John, one can see a sign, which reeds "Politi", the danish word for police. See more »


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

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User Reviews

Lucky 13
9 November 2013 | by Joseph_GillisSee all my reviews

Wealthy nobleman,Sir Robert Marney, receives an unwelcome visit from notorious criminal, Joe Legge, who seeks his assistance, by way of a veiled threat, in secreting the proceeds of his planned heist; meanwhile, somebody is killing dancers at a sleazy night-club.

One of my favourites of the eight or so of the Edgar Wallace 'krimis' that I've seen to date, although opinions are divided on its merits. I think the more preposterous plot elements, and the prominence given to comic Eddie Aren't's police doctor, enhances, rather than detracts, from it's appeal.

Given that the constituent plots are usually enough to sustain two films, part of the fun is waiting to see how the scriptwriters will join up the dots. In my case I wasn't overly concerned at how logical the resolution would be, as I was just enjoying the telling of it. Previously, I had begun to question the inclusion of Eddi Aren't's comic interludes - largely because of the absence of slapstick humour in Wallace crime novels - but I think here I finally 'got it': whether it was watching him cavort with his laboratory 'mannequin', his exaggerated 'Q' style experiments, or watching him getting up close and personal - mostly to their bemusement - with the nightclub dancers, this is where I officially became a fan; almost to the extent that my enjoyment of these films is almost directly proportional to the extent of his involvement.

The heist itself put me in mind of the contemporary British 'Great Train Robbery' - which itself was separately re-enacted by a West German production company - but despite the occasionally ludicrous characterisations and actions, it was excitingly staged.

The parallel plot line of the murders was somewhat implausibly resolved, though not wholly unpredictably, but it all combined to add to the general enjoyment.

Although there were a number of standout performances - notably Aren't - the entire ensemble , including the suitably ugly gang members, worked a treat together. Although later films were made in colour, I think black and white was more effective, not least in some nice moody landscape shots, and in the nocturnal outdoor sequences. The plots moved at a brisk pace, but not so fast that you couldn't make sense - or 'non-sense' -of what was unfolding

Ably directed by Harald Reinl, who had already proved himself a quality director of genre films

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