I have to hand it to Flicker Alley. They keep coming up with quality movies that I have never heard of. Now it's EL VAMPRO NEGRO (The Black Vampire) which has nothing to do with supernatural vampires but instead is an Argentinian remake of Fritz Lang's 1931 classic M which is about a child murderer and how he is brought to justice. The noteworthy title comes from the nickname that the press has given the killer.
While the story is the same, the film's point-of-view is completely different as this time around it focuses on the plight of a poor mother (Olga Zubarry) who performs in a seedy cabaret in order to provide for her young daughter who is away at school. Emphasis is also placed on other women characters who either inhabit the nightclub or live in less than ideal environments. Of course the central focus is still on the child murderer who is brilliantly played by Peter Lorre look alike Nathan Pinzon who was traditionally associated with comic roles.
Just so film buffs don't miss the connection between Lang's 1931 movie and this one, Pinzon not only looks like Lorre but he whistles the same tune (Grieg's IN THE HALL OF THE MOUNTAIN KING) that ultimately leads to his capture. Unlike Lorre, he is a professor who teaches English during the day and is a mild mannered person who is easily above suspicion. What really distinguishes the two is that Pinzon's performance is far more sympathetic although both movie conclude with the famous "I don't want to but I can't help myself" speech.
Having the advantage of being made 22 years later, EL VAMPIRO NEGRO is technically more accomplished than M and makes full use of film noir techniques that include dimly lit sets and brooding B&W photography that create a powerful atmosphere especially in the cabaret scenes. Combine that with the strong performances from all the principals and you have a truly memorable movie that Eddie Muller (head of the Film Noir Foundation) called his favorite of the 3 versions of the story. There is also a 1951 American remake which is only now being re-evaluated.
This is the third in a series of Argentinian film noirs that have been rediscovered by the Film Noir Foundation, restored by the UCLA Film and Television Archive. The other two are LA BESTIA DEL MORIR (The Beast Must Die) which also features Nathan Pinzon and LOS TARGOS AMARGOS (The Bitter Stems). If you enjoy film noir then definitely check them out as well.
While the story is the same, the film's point-of-view is completely different as this time around it focuses on the plight of a poor mother (Olga Zubarry) who performs in a seedy cabaret in order to provide for her young daughter who is away at school. Emphasis is also placed on other women characters who either inhabit the nightclub or live in less than ideal environments. Of course the central focus is still on the child murderer who is brilliantly played by Peter Lorre look alike Nathan Pinzon who was traditionally associated with comic roles.
Just so film buffs don't miss the connection between Lang's 1931 movie and this one, Pinzon not only looks like Lorre but he whistles the same tune (Grieg's IN THE HALL OF THE MOUNTAIN KING) that ultimately leads to his capture. Unlike Lorre, he is a professor who teaches English during the day and is a mild mannered person who is easily above suspicion. What really distinguishes the two is that Pinzon's performance is far more sympathetic although both movie conclude with the famous "I don't want to but I can't help myself" speech.
Having the advantage of being made 22 years later, EL VAMPIRO NEGRO is technically more accomplished than M and makes full use of film noir techniques that include dimly lit sets and brooding B&W photography that create a powerful atmosphere especially in the cabaret scenes. Combine that with the strong performances from all the principals and you have a truly memorable movie that Eddie Muller (head of the Film Noir Foundation) called his favorite of the 3 versions of the story. There is also a 1951 American remake which is only now being re-evaluated.
This is the third in a series of Argentinian film noirs that have been rediscovered by the Film Noir Foundation, restored by the UCLA Film and Television Archive. The other two are LA BESTIA DEL MORIR (The Beast Must Die) which also features Nathan Pinzon and LOS TARGOS AMARGOS (The Bitter Stems). If you enjoy film noir then definitely check them out as well.