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Klaus Kinski was one of the great underrated actors of our time. Perhaps because he was too wild, uncompromising and tragically self-destructive to play the Hollywood game. Sure, CRAWLSPACE is low-budget, and he did it for quick cash. But his performance as the tortured, enigmatic, and totally twisted Dr. Gunther corruscates with understated brilliance.

Scenes from this film will always stay with me: Kinski playing Russian roulette with himself after he kills each victim and announcing "So be it!" when fate spares him and he can keep on killing. Kinski's deadpan voiceover as he writes his demented philosophical musings into his madman's diary. Kinski's almost touching monologues to the woman who's tongue he has cut out and whom he keeps in a cage to ward off loneliness. Kinski holding his hand over the gas burner as he waits for a prospective tenant/victim to take the apartment. Kinksi with lipstick and makeup in full SS drag, saluting "Heil Gunter!"

I could go on, but then again I'm a diehard Kinski fan. Even though this movie is low-budget, I think it is well-written, well-acted, and successful on many levels. It's one of my sentimental favorites, which I have seen more than once. Deserves to be redone!!!

The movie consists of: Kinski being a creep, a chase scene, a few booby trap kills. That's it. Short, forgettable, and cheap. Not much to see in the end.

Crawlspace (1986)

** (out of 4)

Klaus Kinski plays the son of a Nazi who rents out his apartment rooms to pretty women so that he can spy on them and then kill them. This could have been a rather interesting film but absolutely nothing happens here. I mean zero, zilch, absolutely nothing. I'm really not sure what the point of the film was, although it's clear the director was trying to get into the mind of a killer yet we never know what the hell Kinski is thinking or why he's doing what he is. Kinski is quite amusing in this role but it's a wasted opportunity.

Meet Karl Gunther (played by legendary eccentric Klaus Kinski). He's the demented son of a notorious Nazi war criminal and a former doctor with his own shady past. He's now the landlord of an apartment building that strictly caters to young females. He regularly spies on the ladies from the buildings' hidden crawlspace area, and kills them as well. He even keeps a woman named Martha (Sally Brown) enclosed in a too-small cage. He keeps a diary of his thoughts and activities, to provide us with some exposition and insight into his character. After he brings in a new tenant, university student Lori Bancroft (played by Talia Balsam, the daughter of actor Martin Balsam), he begins to be visited by a Nazi hunter named Josef Steiner (Kenneth Robert Shippy).

Kinskis' performance essentially IS the movie. Overall, this brief bit of nutty mayhem, written and directed by David Schmoeller ("Tourist Trap", "Puppetmaster"), is mildly amusing but quite forgettable. Kinski, of course, is anything but, and he does seem to relish portraying this character (although he did make life miserable for Schmoeller and crew). There are a bunch of rats in this thing, some entertaining makeup effects gags (but not very much blood), excellent production design (by Giovanni Natalucci) and music (by the great Pino Donaggio), and a very nondescript (if attractive) supporting cast, including Tane McClure, the daughter of Doug McClure. Balsam is a reasonably personable heroine, but Shippy is boring and unintimidating in his part. Schmoellers' direction lacks style, and his dialogue, for the most part, ain't so hot. (He does admit that the movie isn't particularly good.)

Kinskis' presence and performance raise the rating by a point.

Future "Tremors" director Ron Underwood was the associate producer here. Schmoeller has a cameo as a rejected tenant.

Six out of 10.

I saw this one back to back with "Cobra Verde" and, surprisingly, actually liked it better. It's an inexpensive little serial killer film, rather low on violence on the contemporary "Saw" scale, but with excellent camera-work and music (composer Pino Donaggio worked with Brian de Palma and Dario Argento, and cinematographer Sergio Salvati shot some of Lucio Fulci's best movies). Kinski gives a very beautiful performance here: He's in almost every scene, and his characterization of the evil nazi/doctor/landlord is restrained, faceted and balanced, meandering between the light-hearted and ugly. I didn't know that his acting in the mid-eighties still had such quality. If you get a chance, watch director David Schmoeller's (he wrote all the Puppet Master movies and directed the first one) hilarious short movie about his collaboration with Kinski, aptly titled "Please kill Mr. Kinski" (1999). Making the movie must have been hell for the poor guy, but the result is quite rewarding.