Ordine segreto del III reich

Yo, Super Mario. Though while later Eurocrime "cult" actor Mario Adorf does quite a convincing job as the retarded serial killer in Robert Siodmak's Nazi noir The Devil Strikes at Night, ex-boxing-champion Claus Holm – imagine a German Van Heflin – as the crippled police Kommissar and Hannes Messemer as his SS-Obergruppenfuehrer opponent easily steal the show from him: Their confrontations, chock-full of icy dialogue, constitute the epicentre of this sardonic high tensioner that doesn't lose its momentum for a single second, due to Siodmak's remarkably concentrated direction, aided by the unobtrusive, but perfectly effective camera work by unjustly forgotten cinematographer Georg Krause (who did Kubrick's Paths of Glory – !! – a year before), competent editing by Walter Boos (who went on to do some Schulmaedchen-Reports in the 70s), and excellent supporting performances by Werner Peters and the strikingly beautiful Annemarie Dueringer. "Belief? Where did you dig up that word?", Messemer's slick SS herrenmensch asks the crushed Kommissar. Once, they even had great screenwriters in Germany, among them Werner Joerg Lueddecke, who sets the fast-paced, bitter, cynical and sometimes darkly humorous tone of the movie. When the Kommissar is sent to war in the end – the year is 1944 –, he reassures his trembling girlfriend: "It won't take much longer. Soon, you can reach the front line by city train."

"Nachts, wenn der Teufel kam" is a film from the second German period of Robert Siodmak. Leaving Germany with the rise of Nazism in 1933 he returned to his home country after the Second World War in 1952. In the USA his film career suffered from his image of being a film noir director, in Germany this same image was more of a blessing. Also "Nachts, wenn der Teufel kam" is a good example of the film noir genre.

In German films the serial killer is portrayed in a different way than in for example American films. In American films he is portrayed as a savage beast who likes to kill. In German films the serial killer is both perpetrator and victim. He is a psychopat who has to kill. This is most clearly in "M" (1931, Fritz Lang), but is also the case in "Nachts, wenn der Teufel kam" (1957) and "Es geschah am hellichten Tag" (1958, Ladislao Vajda). Most convincing in his role as psychpat remains however Peter Lorre in his role as Hans Beckert in "M". In "Nachts, wenn der Teufel kam" Mario Adorf as Bruno Luedke can not match that performance, and he is hardly te blame for that.

In "M" the serial killer is hunted down by organised crime (who wants to keep the level of police activity at a low level). In "Nachts, wenn der Teufel kam" there is also some sort of organised crime, namely state crime in the form of the Nazi government. They are however not interested in the real killer, whose identity is uncovered by an honest detective. For reasons of public relations they prefer to give a death sentence to an innocent man, thereby showing their contempt for the value of a human live.

"Nachts, wenn der Teufel kam" takes place in 1944, at the end of the war. A great deal of the film is devoted to the (miserable) life of German citizens. In this way there are similarities with films such as "Germania anno zero" (1948, Roberto Rossellini) or "Der Untergang" (2004, Oliver Hirschbiegel).

There's nothing as intense and disturbing as German-produced serial killer films, especially when they are inspired by raw, macabre factual cases, like "M" (Peter Kürten), "The Tenderness of Wolves" (Fritz Haarmann) and "Angst" (Werner Kniesek). Okay, admittedly, that last one is 100% Austrian, but also and truly one of the most harrowingly realistic thrillers ever made. "The Devil Strikes at Night" is another masterpiece that fits into this category, as it's based on serial murderer Bruno Lüdke and very accurately depicts the period and the circumstances of his arrest in Berlin during the summer of 1944. Mario Adorf, still in one of the earliest roles of his rich career, impressively portrays the strong and potent but mentally disabled Lüdke. He breaks through the cork of a wine bottle with the tip of one finger, but he also occasionally feels the incontrollable urge to strangle young women, like the Hamburg waitress Lucy Hansen. Her lover, Willi Keun, is wrongfully arrested for the murder and sentenced to death, but you don't really care since he's a Nazi commander and a sleazy pervert. Commissioner Axel Kersten, however, does believe in justice and connects the murder to several ones that took place before the war. He unmasks Lüdke, but this isn't good news for SS-Gruppenfuhrer Rossdorf because he doesn't like the idea of a handicapped Aryan being able to remain below the radar in their superior Third Reich. Master director Robert Siodmak ("The Spiral Staircase") returns to Germany to portray his native country how it really was during World War II: corrupt, ugly, hypocrite and completely devoid of honest and honorable men! It's not a very exciting or action-packed thriller, but it's hugely atmospheric, depressing and wonderfully shot by Georg Krause. My inner horror fanatic is somewhat disappointed that a killer suspected of 51 murders is only seen strangling one victim, but Siodmak opted to put all his energy into the drawing of Lüdke as an atypical serial murderer and the slow but certain extirpation of Nazism.

Nachts,wenn der Teufel kam has realistically shown perversion of justice as a convincing argument against nazis.Robert Siodmak has convincingly outlined the historical background to examine one of the most ghastly episodes in German history.He elucidates how Nazi leadership made effectual use of crime,violence and totalitarianism in order to remain in power.Nachts,wenn der Teufel kam appears realistic as a result of nice all-round acting performances by Mario Adorf and Hannes Messemer.The film was a big commercial success as it won numerous prizes including the best direction award at Karlovy Vary.

Afterwards I'd watched this picture, on bonus material the Italian actor Mario Adorf spoke about his recollections concerning the productions that reveals some possible disagreement over the veracity of the case occurred on WWII during the Nazi period, starting this point almost majority of the facts really happened, aside some sequence added under the pretext of the dramatization without stir in the real events.

Then the plot took place at Germany in 1944 when the war is closing on behalf of the allied, when a Germany serial killer called Bruno Ludke (Adorf) has been committed many murders on different spots at country, when a former army officer took over as police commissioner Axel Kersten (Claus Holm) delves into the odd case suspecting that the man caught in crime scene couldn't commit a murder due he didn't fits as enough strong hands an unusual throttling applied by the real killer.

When he finally finds Bruno and arresting him to able to extract further strongest elements to ascertaining the truth, during the Bruno's stateman the whole staff of the local police they reach a bottom line that the killer murdered around 80 victims, in the meantime a Gestapo officer following the case carefully under other pretext, in a nutshell hush it up due the possible damage to Nazi party on so-called new Germany that now is in the hands of the Fuher.

The picture has many qualities enforced and approached by the esteemed director Robert Siodmak, also the Noir proposition, fine photograph and embellished by a sharpy dialogue between the Gestapo officer and the Commissaire Axel over the Arian progeny as pure German race, however paradoxically Bruno Ludke belong from this ethnic group!!

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First watch: 2022 / How many: 1 / Source: DVD / Rating: 8.5.