Le vampire noir

Setting aside the inevitable comparisons to Fritz Lang's classic M from 1931, this is an excellent noir, full of dark shadows, a creepy serial killer preying on children, and plenty of atmosphere. Nathán Pinzón, even looking a bit like Peter Lorre, is fantastic in his own right. It had me from the start in that seedy cabaret, with the montage of closeups and the sultry performance from Olga Zubarry. When she glimpses a man tossing the body of a child in the sewer through a window later, she screams, and one of the women upstairs on the dance floor says to her partner "I like it rough too, but I don't scream."

The film lost a little momentum during the police investigation which follows, though there is tension during a couple of other murders along the way (mercifully, nothing shown). The prosecutor investigating the crimes seems so upright, saying procedures must be followed and caring for his paralyzed wife - but we eventually see this unravel, as he first gets on his high horse and chastises the cabaret performer for working where she does, and then out of sexual frustration tries to force himself on her. It was a fine moment when she rebuffed him, and justified the inclusion of the wife subplot which otherwise seemed a little weak.

Along the way there is action down in the dank sewers, a shoot out in the cabaret, and carnival rides, all suitably dramatic. The whistling of Edvard Grieg's The Hall of the Mountain King by the killer added an eerie touch. Made just a couple of years before the coup that would oust Juan Perón and put Argentina under a military dictatorship for several years, the ending seems to reflect an unambiguous desire to be "tough on crime," despite the desperate speech at the end ("I don't want to but I can't help myself!"), which was cathartic. It's a film that was well done, and still has power.

I saw a stunning movie last night. El Vampiro Negro, an Argintinian film whose title translates as The Black Vampire, is a remake of Fritz Lang's legendary M, starring Peter Lorre as a child killer. But this is no shot-for-shot remake. The acting is astonishing on all fronts, and the plot is tight and fraught with dread. And the look! Although the movie was released in 1953 (and almost never seen in the U.S.A.), a bit past the classic noir era, there's a distinct look of those gritty dramas afoot.

Teodoro Ulber (Nathan Pinzon), known as The Professor, is on trial for murder as the movie begins. After his attorney asks for confinement to a mental institution and the prosecution asks for the death penalty, a flashback reveals how Ulber made it to this point. Outside a dance hall, a short, portly figure drags the body of a little girl from a worn sack and throws it down a sewage shaft. The next day, a homeless man, deep within the sewer tunnels of the city, comes across the body. He alerts the police, who (of course) toss him in jail as a possible suspect, and the manhunt is on.

But Ulber's actions didn't go unseen. Through window in the basement of the dance hall, a young performer named Amalia (Olga Zubarry) spies the wretched little man. But she keeps quiet, at the behest of the club's unscrupulous owner. The owner fears he'd come under too-close scrutiny, and Amalia fears that she'll receive unwanted publicity – for, although she's a dancer of ill repute (!), she does have a sweet young daughter whom she's been able to send to a private school, at her own great sacrifice.

What's more, one of Amalia's coworkers, Cora (Nelly Panizza) is actually acquaintances with Ulber, who awkwardly pitches woo at Cora. Without realizing that Ulber is indeed the Black Vampire, Cora and Amalia aid in his escape from the police (led by prosecutor Bernar, played by Roberto Escalada), which only opens up the possibility of more children being murdered.

This is by no means a gory film. In fact, there's almost no blood at all (and none anywhere near a child). But the harsh camera of Anibal Gonzalez Paz tells a story all on its own: the desperate vulnerability of Ulber, the jaded countenance of Bernar, the shadowy streets and tunnels and back alleys of the city. Gonzalez Paz artfully direct the viewer's attention not to what is present but to what may be coming just around the bend.

The movie premiered in Buenos Aires, Argentina, in October 1953 but didn't make it over to the States until January 2014. 61 years! 61 years before this masterful work by Roman Vinoly Barreto could be seen (with subtitles) over here, and more's the pity. El Vampiro Negro is a tremendous accomplishment that's not to be missed.

Huge thanks to the Film Noir Foundation and to the AFI Silver Theatre in Silver Spring, Maryland for making this screening possible!

A remake- though not exact - of 'M' has a Peter Lorre-like actor as a pedophile murderer (none of that on-screen fortunately). The cinematography is good - especially the ending scenes in the sewers, 'borrowed' from the Third Man.

A madman is loose in Buenos Aries, kidnapping and murdering young children and in general baffling the police. There is a sub-plot, the prosecutor has an unhealthy interest in the only witness to a childs abduction.

All this may have been cutting edge in the Argentine post-Peron era, but unlike the first few reviewers I see nothing remarkable here. The acting is less than average Hollywood of the same time, the story was told better before and after this. And you have to suffer through sub-titles also😁

I came across this film on You Tube yesterday and was surprised to find that it was a remake of Fritz Lang's M (1931) shot in South America.

The title translate as THE BLACK VAMPIRE. M was released in South America as THE VAMPIRE OF DUSSELDORF so the title makes sense there even tho there is no vampire. This is not a scene by scene remake like the remake made in the United States in 1951.

The film has a dark moody black and white atmosphere like an older movie would have. The actor playing the killer is pretty good. In one scene he takes the daughter of a friend to the carnival and has to fight his urge to kill her.

When I first saw this film on Turner Classic Movies' schedule for October 29, two days before Hallowe'en, I wondered, "Why are they showing one of those cheap, terrible Mexican horror movies in Eddie Muller's time slot?" I was wrong on all countsL the film turned out to be more noir than horror, a clever reworking of Fritz Lang's "M," and a film or real quality and power in its own right. Also it's from Argentina, not Mexico. Eddie Muller stressed the feminist aspects of the tale, particularly the appearance of strong women characters (ironically, Lang's "M" contains virtually no women even though a woman, Thea von Harbou, wrote it). Writer-director Román Vinoly Barreto manages to work in references not only to "M" but other classic films like "The Man Who Knew Too Much," "The Third Man," and even "Casablanca" (early on, when they're just starting the search for the child-killer, the police say, "Round up all the usual suspects"), but Barreto ably fuses those movies into his plot so he seems like a director with a true love of his predecessors instead of some kid saying, "Look at how many movies I've seen!" A truly great film, blessedly rediscovered (thank you, Hollywood Foreign Press Association - the much-maligned group that hosted the Golden Globes - for funding its restoration) and ready to take its place as one of the classics of the film noir era.