Original Title: Der Tiger. Crime drama 1930; 62 min.; Director: Johannes Meyer; Cast: Charlotte Susa, Harry Frank, Hertha von Walther, Max Wilmsen, Trude Berliner, Max Maximilian, Ernst Dernburg, Ernst Behmer; Ufa-Klangfilm.
Mysterious murders committed by a criminal have kept the public on their toes and the police have mistakenly accused an imposter of the crimes. However, when one crook runs into another during a burglary, one of them turns out to be a criminal investigator who identifies the other as the wanted criminal.
Summary
At the criminal bar, a cheerful atmosphere usually pervades, and one feels right at home – as long as no one is shooting. Today, however, the guests – none of whom would qualify for anything less than five years in prison – are somewhat disturbed. Once again, the infamous Tiger has perpetrated a daring crime, and, as with all of his victims, the same wound is centered in the middle of the forehead.
Nobody knows who the brave and fearless criminal is, not even the crooks. This is a strange case indeed. As the dapper gentleman in the tuxedo leans nonchalantly against the bar, the other patrons observe that he is paying with a brand new hundred-mark note. Magic-Gustav, the master of pickpocketing, attempts to feel out the young man’s pocket and take the money for himself. Unfortunately, his usually sure hand is outmatched as the man in the tuxedo swiftly takes his money and leaves. It is apparent that this criminal will remain a mystery.
A newspaper vendor appears, carrying huge ladders on which one can read about a new brazen murder committed by the tiger. A messenger has been the unfortunate victim, leaving the murder commission faced with a puzzling situation. However, this time there is a clue – the serial number directory of the stolen banknotes is found in the briefcase of the murdered messenger.
A newly relocated member of the Criminal Police, Magic-Gustav, is tasked with investigating the entire tiger complex. His body still aches from the secure grip of the man in the tailcoat, Gustav remembers the new hundred-mark bill that his opponent had paid with. The tempting thousand-dollar reward increases his resolve, and simultaneously his desire for revenge. Gustav has a plan! A new couple enters the cellar pub, an elegant foreigner with her cavalier in a tailcoat. Despite the warning of her noble companion, the lady wears her valuable necklace openly, her burning interest evident as she surveys the goings-on.
The door opens once more and the criminal inspector steps down the basement stairs. Everyone present, aside from the stranger, is aware of the situation: it is the criminal inspector! He inspects the regulars, who he all knows well, almost kindly. He then inquires with the innkeeper about money bills, but finds no answers. The man in the tailcoat makes a cheeky joke, which the inspector contemptuously overlooks before he leaves once again.
A stunningly beautiful blonde in an evening dress appears in the box next to the foreigner and the Count. The man in the tuxedo seems to appeal to her more than the wrestler, and they soon sit together, a bottle of champagne between them.
A loud bang suddenly echoes through the room! The foreign woman lies dying on the floor, with a shoe embedded in the middle of her forehead and the jewelry missing. The Count has vanished. Immediately, a police patrol arrives and questions the innkeeper, though he has seen and heard nothing.
But the Count is apprehended as he attempts to flee; he is exposed as a long sought-after, international impostor. The Commissioner bluntly tells him, “You are the Tiger!” The Count’s pistol is freshly fired and one bullet is missing. The Tiger appears to be trapped; however, it soon turns out that the Count is at least innocent of this murder.
The street is deathly silent as a well-dressed gentleman stops in front of house no. 7. After quickly glancing left and right, he climbs over the gate. Windows rattle softly as he peers inside, deftly and silently entering the house. Unbeknownst to him, the blonde lady from the pub had followed him, and now she stealthily trails him. Suddenly, she stands before him. Are they two allies, or two enemies? Before they can decide, the light dims and shots ring out! There is a heavy, dull thud, as if a giant trap has closed – the Tiger has been captured!
Hans Feld’s review in Film Kurier No. 92 (April 16, 1930)
The German 100%-talking film has now conquered the field of crime thrillers, too: The Tiger, a mysterious murderer, who is audible and visible on the screen of the U.T. Kurfürstendamm, is now a welcome guest at all theaters throughout the Reich that have projection apparatus.
This story of an unknown criminal who keeps Berlin’s criminal police and the watching public on edge is based on a simple yet rarely used recipe for an effective crime novel. Of course, the old crafty trick of suspecting the truly innocent first is also present. And while those who have been trained in Karl May, Conan Doyle, and Wallace can soon guess the name and gender of this Tiger, they are still tense when it comes to the final turn, which plays out exclusively acoustically on a blank film. The final solution then follows with a pleasing brevity: “The Tiger Murder Case is closed.”
It is extraordinarily touching how masterfully this film has been crafted with the means available. Like all products of the Zeisler production, it is also characterized by a refreshing precision of the technical apparatus. There is no random functioning, no breakdown of the factors; the interaction of all forces, the preparation of the material, the work on the actor even before the recording starts, and the natural handling of the machine, all decide the success even in the sound era. Preparation and pre-work cannot be emphasized enough; here it has been exemplary.
The criminal milieu presents a stark contrast to local customs. Rather than romanticizing it, it is more appropriate to give the underworld a pseudo-bourgeois air. An innkeeper, a pimp, a pickpocket, a pimp’s ring fighter, and the girls, even humour in the depths all exist. It is in this human urge to still find light in the darkness that lies the true tragedy of the lower classes, as noticed by the onlooker. There is a discreet Apache atmosphere with a royalty-free homage to Schnitzler’s Der grüne Kakadu. It is only when one considers the individual observations that one can construct a colourful picture of what seemed so easy afterwards.
Highlighting new actors is a demand that is raised many times, yet never fulfilled to such an extent as it is now with the gracefully blonde beauty Charlotte Susa. Her speaking-film debut is a great success, and it is particularly pleasing to see her avoid any feigned vamping. The speaking genre’s salons are enriched by a woman of great stature. Her partner, Harry Franck, is equally proficient in language and performance, without trying to assert himself with any stardom aspirations. His unrefined elegance and natural tone and demeanor make him a great asset for lead roles. Even in the most minor scenes, there are excellent speakers and skillful actors to be acknowledged, such as Hertha von Walther, Ernst Dernburg, Viktor Gehring, and Alfred Beierle, all of whom show incredible authenticity. Erich Kestin’s crook, the wrestler, and Henry Pleß, both give remarkable performances. Jens Keith and Trude Berliner execute a dance number, though they deserved a better song than Kollo’s own self-composed pieces. Max Maximilian receives special praise in the role of the innkeeper, with a remarkable performance of the minor art.
The technical assistants, Johannes Meyer (the director) and Carl Hoffmann (the cinematographer), are mindful of natural dialogue design, with Hoffmann recognizably contributing a few light and dark moods. Sets are designed by W. A. Herrmann, sound is overseen by Dr. Erich Leistner, and Rudolf Katscher and Egon Eis are responsible for the foundation of the crime novel.
Entertainment in the cinemas is an international demand, and this film satisfies it completely. It is noteworthy to point out that it has been done with the intentional inclusion of new forces and the highest level of rationalization; sound film is now ready for everyone, and it has been accomplished and surpassed in a short time, surpassing the years-long lead of foreign countries.
