Kinski Watch VIII: The Strange Countess (Josef von Báky, 1961)

A prestige Edgar Wallace. Producer Horst Wendlandt's dream was to bring together pre-war UFA talent for a new project, and he indeed assembled an eclectic bunch for this film. Silent film star Lil Dagover plays the titular Countess, Marianne Hoppe, Fritz Rasp and Rudolf Fernau are featured as well, screenwriter Robert Adolf Stemmle was responsible for the 1931 classic Emil und die Detektive, director Josef von Báky had had successes with Das doppelte Lottchen and Münchhausen, and even director of photography Richard Angst was known for his pre-war work. The production history is tumultuous. Stemmle was brought onto the project after the initial writer Curt Hanno Gutbrod delivered three drafts of the script and was fired by the studio due to creative differences. During shooting, director  von Báky fell gravely ill and had to be replaced by Jürgen Roland. It was von Báky's last work as film director. He died in 1966. German critics picked the film to pieces, but due to its star ensemble The Strange Countess remains one of the better-known Wallace krimis to date.

The story is convoluted yet dull. Margaret Reddle, a young secretary, is the victim of several attempted murders. When she is hired as a secretary by Countess Moron and moves to her castle, she thinks that she finally might be safe. One night, she steps on a balcony and is almost killed when the balcony gives way. Accident or another attempted murder? She flees the castle, but due to different plot machinations, finds herself in a psychiatric institution run by Countess Moron's physician. She is saved by Detective Mike Dorn (who's presence in the film is never really explained) and brought back to the castle to confront the Countess. Family secrets are unearthed and everything is explained - but the only way to still be around for the denouement is if one keeps busy by counting the plot holes.

Kinski plays a patient of the psychiatric institution who apparently is allowed to come and go as he pleases. He frequently calls Margaret Reddle and warns her that she is about to get killed. Otherwise, his ties to the plot are rather incidental and ultimately unimportant. Kinski however gets his own title card for the first time in the Edgar Wallace series. That's the only thing worth mentioning in this otherwise forgettable offering.