Double Face (1969) by #RiccardoFreda
A business man's rich wife is killed in a car accident. But several unscrupulous characters lead him to believe that she is still alive.#Giallo #Krimi#NotQuiteClassicCinema pic.twitter.com/LPDqVVvv2C
— Angus Kohm (@AngusKohm) May 16, 2020
I’m not sure when I first saw Klaus Kinski in a movie. It could well have been Jess Franco’s Count Dracula (1970). I saw several versions of Dracula on TV when I was young, and I’m sure that it would have been one of them. But my memories of that are, to say the least, hazy. I remember seeing the movie box of Jack the Ripper (1976), also by Jess Franco, every time I went to my local video store. It intrigued me, but somehow I didn’t rent it until I was an adult. I did take notice of the name Klaus Kinski, and the images of him on the box. I think I had already heard of him, through reviews of movies like Fitzcarraldo (1982) on Siskel & Ebert’s TV show. I also remember seeing the box for Nosferatu the Vampyre (1979), which I think I had likewise seen reviewed by Siskel & Ebert. But much like Jack the Ripper, I did not see the movie itself until years later.
For some reason, I distinctly remember seeing (part of?) a movie called Buddy Buddy (1981) on TV when it was first aired. My mom has always been a fan of Jack Lemmon (and Walter Matthau, I suppose), so she was watching the movie. I think I just wandered into the room at some point and got pulled into it. It was the story of a suicidal man (Jack Lemmon) who stumbles into a awkward friendship with a professional killer (Walter Matthau). Lemmon’s wife is leaving him for a crazy, cult-leader-like doctor named Zuckerbrot – played by Klaus Kinski. I really enjoyed this offbeat movie, and Klaus Kinski made an impression on me as the crazy doctor.
Later, I rented movies like Schizoid (1980), in which Kinski plays a psychiatrist who may or may not be murdering his patients, and Crawlspace (1986), which presents Kinski as the demented son of a Nazi surgeon, who may be killing people in his apartment building. I was starting to recognize a possible pattern in Klaus Kinski’s performances…
I should also note that I saw him in movies like The Soldier (1982) and Creature (1985), which I rented in my junior high school days. I also saw him in Marquis de Sade’s Justine (1969) on late night TV. It is yet another film directed by Jess Franco, and Kinski plays the titular Marquis (a role that seems to fit nicely with the mad doctor type characters I had come to expect from him).
David Schmoeller, the director of Crawlspace, made a short (9 minute) film about the making of that movie called Please Kill Mr. Kinski (1999). It’s quite an amazing personal account of what it was like to work with Klaus Kinski – and somehow also fits perfectly with the kind of characters Kinski would create on screen. If you have not seen it, seek it out and give it a shot.
Double Face (1969) is a movie that I had never even heard of, prior to finding the (relatively) brand new Blu-ray from Arrow Video. I have always enjoyed Klaus Kinski’s performances – plus this movie had the look of a giallo, which is always a good sign to me – so I decided to take a chance on it.
It’s not a hard core giallo, as it lacks many of the typical tropes of that genre. It’s almost more like a classic film noir, or crime story. I’m not terribly familiar with the krimi genre, but as Double Face is a German co-production (with Italy) it may well be an example of that. It should perhaps be noted that Lucio Fulci is one of the credited writers on this film, and he made a couple of my favourite giallos: Don’t Torture a Duckling (1972) and A Lizard in a Woman’s Skin (1971). Perhaps if he had directed Double Face, it would have been more giallo-like.
In any case, I enjoyed Double Face quite a bit. I’m just as big a fan of old fashioned film noir as I am of giallos, so it’s no problem if this film falls a little more on the noir-ish side of the spectrum. Klaus Kinski is great in this film, but he is not playing a crazy mad doctor. In fact, he is much more the leading man hero type (although slightly on edge due to circumstances). He is perfect as the (relatively) normal man caught up in extraordinary and mysterious circumstances. His sanity will be called into question before the movie is done, and you may find yourself wondering (as is so often the case in a Klaus Kinski film) if he is in fact a murderer.
The music, the production design, the atmosphere of swinging London in 1969 are all reasons to enjoy this movie – at least they were for me. I am very pleased to add it to my #NotQuiteClassicCinema library. And I find myself wondering what other obscure films starring Klaus Kinski I shall one day discover on a #FridayNightAtTheHomeDriveIn.