Forgotten Gialli: Volume Nine – Vinegar Syndrome (Blu-ray)

Theatrical Release Dates: Italy, 1994 (Madness, Bugie rosse), Italy, 1992 (Murder in Blue Light)
Directors: Bruno Mattei (Madness), Pierfrancesco Campanella (Bugie rosse), Alfonso Brescia (Murder in Blue Light)
Cast: Monica Carpanese, Gabriele Gori, Emy Valentino, Achille Brugnini, Fausto Lombardi, Carlo Granchi, Antonio Zequila (Madness), Tomas Arana, Gianfranco Jannuzzo, Gioia Scola, Alida Valli, Lorenzo Flaherty, Natasha Hovey, Gianni Franco (Bugie rosse), Florence Guérin, David Hess, Brian Peterson, Joseph Misiti, Wendy Windham, Rik Battaglia (Murder in Blue Light)

Release Date: March 31st, 2026
Approximate Running Times: 90 Minutes 39 Seconds (Madness), 92 Minutes 36 Seconds (Bugie rosse), 89 Minutes 13 Seconds (Murder in Blue Light)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: NR
Sound: DTS-HD Mono Italian (Bugie rosse, Murder in Blue Light), DTS-HD Mono English (Madness)
Subtitles: English (Bugie rosse, Murder in Blue Light), English SDH (Madness)
Region Coding: Region Free
Retail Price: $89.98

Madness: "Giovanna is a successful comic artist, and her brutal Doctor Dark comic has made her rich and somewhat notorious. While she and the comic are both under fire for possibly inciting readers to violence, a real-life murderer suddenly begins carving out the eyes of their victims only to deliver them to Giovanna. Under continuing pressure from her manager and the public, she flees to the country, eager to clear her head and distance herself from the fact that someone is making gruesome reality out of her fiction. Not only does the terror follow her, but now someone is calling Giovanna to menace her under the guise of Doctor Dark. Will the police find the killer before they reach Giovanna, or will all this nervous exhaustion do her in first?" - synopsis provided by the distributor

Bugie rosse: "Television journalist Marco knows the importance of a good story, a terrific scoop, and he's willing to do the deep research to secure his reputation. When investigating murders in his city's gay underground, he doggedly sticks to posing as a man lurking in the park for night-time tricks who may give him a lead, in spite of his own marked aversion to same sex contact. Although he gets arrested after each murder, and even if he's increasingly suspicious to the police, Marco stays on the story. His connections with the paper and a local prosecutor can only keep him safe for so long, and things look dire amid increasing tension with his wife and the psychic weight of the job. But he's just come across an attractive male hustler who may provide him with the clues he needs. That is, provided Marco can uncover the deep secrets that the killer will stop at nothing to protect." - synopsis provided by the distributor

Murder in Blue Light: "Top model Starlet works for some of the highest-priced ad campaigns in New York, even if part of the job is occasionally fighting off a grabby client. But she regularly drops out of her high-fashion life to secretly turn tricks as Sherry, a dominatrix and role player for men looking to play out their oddest kinks with her. She doesn't need the money; instead, she's hunting for a certain man. Meanwhile, a rash of stabbing murders keeps occurring around her. Grizzled, sarcastic NYPD sergeant Flanagan is the only one who can keep Starlet out of harm's way, though she refuses to level with him, and instead plays detective herself. When Flanagan keeps coming up with nothing, despite constantly rousting local prostitutes, he decides to apply pressure elsewhere. With creeps from both the high and low elements of New York life, and a serial murderer about, how much longer can Starlet push her luck?" - synopsis provided by the distributor

Video: 4/5 (Madness), 4.5/5 (Bugie rosse, Murder in Blue Light)

Here’s the information given about Madness' transfer, “Newly scanned and restored in 2K from its 35mm original negative.”

Madness comes on a 50 GB dual layer Blu-ray.

Disc Size: 29.7 GB

Feature: 24.8 GB

Here’s the information given about Bugie rosse's transfer, “Newly scanned and restored in 2K from its 35mm original negative.”

Bugie rosse comes on a 50 GB dual layer Blu-ray.

Disc Size: 38 GB

Feature: 25.1 GB

Here’s the information given about Murder in Blue Light 's transfer, “Newly scanned and restored in 2K from its 35mm original negative.”

Murder in Blue Light comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.3 GB

Feature: 24.4 GB

Bugie rosse’s and Murder in Blue Light’s sources are comparable. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, and compression are solid, and grain remains intact. Madness’ source does not fare as well, notably when it comes to image clarity. That said, flesh tones and colors look correct, black levels and compression are solid, and there are no issues with digital noise reduction.

Audio: 3.5/5 (Madness), 4/5 (Bugie rosse, Murder in Blue Light)

Madness comes with one audio option, a DTS-HD mono mix in English with removable English SDH. While dialogue comes through clearly enough to follow, there are some sibilance issues and times where the audio volume fluctuates.

Bugie rosse and Murder in Blue Light each come with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. Dialogue always comes through clearly; everything sounds balanced and ambient sounds are well-represented.

Extras:

Extras for Madness include an interview with actress Monica Carpanese titled Through the Eyes of Madness (12 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with producer Gianni Paolucci titled Seeing Madness (19 minutes 48 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with The Hysteria Continues!.

Extra for Bugie Rosse includes an interview with director Pierfrancesco Campanella titled Red Heat (29 minutes 24 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Gioia Scola titled Naked Lies (11 minutes 57 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Tomas Arana titled The Last Temptation (13 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Barbara Scoppa titled Lady in Red (13 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with composer Natale Massara titled Red Eros (18 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles). 

Extras for Murder in Blue Light include an interview with actress Florence Guérin titled Florence, Ma Chérie! (21 minutes 57 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Sonia Topazio titled Blue Light Topaz (31 minutes 33 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview titled The Highly Dependable Mister Bradley with film historian Eugenio Ercolani who discusses director Alfonso Brescia (25 minutes 43 seconds, Dolby Digital stereo English, no subtitles), an alternate home video cut of Murder in Blue Light, sourced from standard definition video (94 minutes 50 seconds, 1.66:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), and an audio commentary with film historians Eugenio Ercolanoi and Troy Howarth.

Summary:

Madness: "Life inmates' art"—when a comic book artist's creation comes to life and mimics the brutal murders in her comics.

Bruno Mattei, directed by Madness. He was one of the more prolific filmmakers making genre cinema in Italy during the 1980s and 90s, and his films are known for their anemic budgets. Notable films he directed include Hell of the Living Dead, Rats: Night of Terror, Night Killer, and Cruel Jaws. Originally made for foreign audiences, when Madness was released in Italy, it was re-edited, and two murder scenes from A Blade in the Dark were added. This release does not include the Italy version of Madness.

Madness starts off on solid ground; its premise, a killer who mimics a comic book killer, is full of possibilities, and the film does a phenomenal job of exploiting them. Madness has many of the familiar giallo tropes, notably a gloved killer who wears a mask to disguise their identity. When it comes to the kills, while there are not the most stylish murder-death set pieces, they have a sufficient amount of gore.

The opening setup does an excellent job laying the foundation and there are a few well-placed twists that keep you guessing. A notable example of an effective twist occurs early on when someone claims to be the killer, only for more murders to happen while they are in police custody. That said, the narrative never feels predictable, and its brisk pacing effectively builds momentum to a finale that perfectly puts everything into perspective.

A main draw of Italian cinema for many decades was its ability to cast recognizable names that would help attract audiences. By the late 1980s and into the 1990s, when Madness was made, this was no longer the case, with most of the cast being made up of relative unknowns. While none of the cast standout, their performances suit well the story that unfolds.

When discussing the cinema of Bruno Mattei, there is one element that can be said about the bulk of his films. They are highly entertaining despite any budgetary limitations. An area where Madness cut corners was its soundtrack, which is credited to Flipper Music, a music library company. The score uses music cues from Lady Frankenstein's score. The screenplay has many elements that feel like they were lifted from Tenebre. Ultimately, Madness is a fun film that giallo fans should thoroughly enjoy.

Bugie rosse: A journalist looking for a big story becomes entangled in a series of killings where the targets are gay men.

Bugie rosse was directed by Pierfrancesco Campanella, who's best known for Bad Inclination.

The giallo is a genre whose hook can make or break a film, and Bugie rosse’s premise is a solid one that effectively draws you into the web of deceit that unfolds. From there the narrative has a few well-placed twists that do a superb job hiding the killer's identity. The most interesting aspect of the narrative is how the protagonist, a straight man, questions his sexuality the further he dives into the world he’s exploring.

The cast has several recognizable faces: Tomas Arana (The Church) in the role of a reporter named Marco; Natasha Hovey (Demons), who portrays Marco’s co-worker; and Alida Valli (Suspiria) in the role of Roberto’s mother. The most memorable performance is Gioia Scola’s (Obsession: A Taste for Fear) portrayal of Marco’s wife Adria. That said, all of the performances work extremely well within the confines of the story that unfolds.

From a production standpoint, there are a few areas where Bugie rosse does not work; its most glaring shortcoming is its inability to create momentum. When it comes to employing giallo tropes and murder set pieces, Bugie rosse delivers in both of these areas. Another strength is an exemplary mood-reinforcing score composed by Natale Massara (Private Crimes), who is most known for conducting Pino Donaggio’s scores. Ultimately, Bugie rosse is a satisfying mix of suspense and sleaze, making it a film that giallo fans should enjoy.

Murder in Blue Light: A model leading a double life as a prostitute searches for her brother's killer.

Alfonso Brescia directed Murder in Blue Light. He was a workmanlike filmmaker whose career spanned four decades and covered most film genres. Notable films he directed include The New Godfathers, Beast in Space, and four Star Wars knockoffs: War of the Planets, Battle of the Stars, The War of the Robots, and Star Odyssey.

Despite a solid premise, a revenge-themed story about a woman in search of her brother's killer, the result is a film that often gets in the way of itself. Instead of focusing on moments that one expects from a giallo, Murder in Blue Light pads its narrative with softcore erotica scenes where the protagonist indulges her clients' weird kinks. When it comes to these erotica moments, they commit the worst sin of all; they are severely lacking any heat.

Most of the cast are made up of names no one will know. The only cast members of note are those two leads, Florence Guérin (Too Beautiful to Die), who portrays Scarlet, a model by day and a prostitute by night, and David Hess (House on the Edge of the Park) in the role of Sergeant Flanagan. That said, none of the performances leave a lasting impression, which is not a surprise since they are not given much to work with.

The narrative is unfocused, moves slowly, and never manages to build any momentum. That said, there are a few interesting twists, notably the revelation of who the killer is. Murder in Blue Light’s only saving grace is its visuals; there are a few stylish moments that heighten the mood. Ultimately, Murder in Blue Light is more a softcore thriller than a traditional giallo, making it a film that even giallo completists will find a chore.

Something that can be said about Vinegar Syndrome’s Forgotten Gialli series is that there have been many well-known films that really don’t fit the bill. This time around, all three films in this collection are perfect examples of films waiting to be discovered or forgotten. Vinegar Syndrome adds another exemplary release to their Forgotten Gialli series. Recommended.

Written by Michael Den Boer

Don't Play with Fire (aka Dangerous Encounters of the First Kind): 2 Disc Collector's Limited Edition - Cult Epics (Blu-ray)

Theatrical Release Date: Hong Kong, 1980
Director: Tsui Hark
Writers: Cheuk-Hon Szeto, Tsui Hark
Cast: Lieh Lo, Lin Chen-Chi, Albert Au, Lung Tin Sang, Che Biu Law, Ray Lui, Bruce Baron

Release Date: June 23rd, 2026
Approximate Running Times: 96 minutes 18 Seconds (Uncensored International Version), 99 Minutes 25 Seconds (Banned Chinese Version), 89 Minutes 51 Seconds (English Dubbed Version)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC (Uncensored International Version, Banned Chinese Version With Standard Definition Inserts, English Dubbed Version)
Rating: NR
Sound: DTS-HD Mono Cantonese (Uncensored International Version, Banned Chinese Version)
Subtitles: English (Uncensored International Version, Banned Chinese Version)
Region Coding: Region Free
Retail Price: $39.95

"After a fatal hit-and-run, three high school friends flee the crime scene. They are witnessed by Pearl, a sadistic young girl, who pursues the group and blackmails them into more crimes, with increasingly disastrous consequences." – Synopsis provided by the Distributor

Video: 4.25/5 (Uncensored International Version)

Here’s the information provided about this release's transfer, "Cult Epics presents a 2-disc limited edition of 3000 copies featuring three versions of the film, including a new 2K transfer and extensive bonus features."

Don't Play with Fire (aka Dangerous Encounters of the First Kind), the uncensored international version, comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.4 GB

Feature: 22.8 GB

Don't Play with Fire (aka Dangerous Encounters of the First Kind), the banned Chinese version, comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.4 GB

Feature: 23.2 GB (Banned Chinese Version), 13.4 GB (English Dubbed Version)

The sources for the uncensored international version and the banned Chinese version are the same master that Spectrum Films used for their 2024 French Blu-ray release. The inserts from the banned Chinese version are VHS sourced and they look rough; see screenshots below. The uncensored international version's source is in excellent shape; flesh tones and colors look correct, image clarity is solid, black levels are strong, and there are no issues with compression. For this review I will only be scoring the uncensored international version, since the other two versions are essentially extras.

Audio: 4/5 (DTS-HD Mono Cantonese - Uncensored International Version, DTS-HD Mono Cantonese - Banned Chinese Version)

The uncensored international version and the banned Chinese version each come with one audio option, a DTS-HD mono mix in Cantonese with removable English subtitles. While the audio sounds clean, clear, and balanced, it's limited range-wise. It should be noted that Cult Epics has performed additional work on the subtitles for the banned Chinese version.

Extras:

Extras on disc one include a newly created trailer (1 minute 14 seconds, Dolby Digital mono with removable English subtitles), an archival interview with assistant director O Sing Pui (23 minutes 10 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with screenwriter Szeto Cheuk On (7 minutes 44 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Albert Au (44 minutes 46 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Paul Che (26 minutes 49 seconds, Dolby Digital stereo English, no subtitles), an archival interview with director Tsui Hark (26 minutes 3 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Frankie Balboa and Brandon Streussnig.

Other extras on disc one include trailers for The Girl Who Leapt Through Time (2 minutes 43 seconds, Dolby Digital mono Japanese with removable English subtitles), His Motorbike, Her Island (1 minute 32 seconds, Dolby Digital mono Japanese with removable English subtitles), School in the Crosshairs (1 minute 55 seconds, Dolby Digital mono Japanese with removable English subtitles), and The Island Closest to Heaven (1 minute 41 seconds, Dolby Digital mono Japanese with removable English subtitles).

Extras on disc two include a theatrical trailer (4 minutes 30 seconds, Dolby Digital mono Cantonese with removable English subtitles), a promotional image gallery with music from the film playing in the background (posters/stills), an archival interview with Tsui Hark (11 minutes 43 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Lieh Lo (6 minutes 36 seconds, Dolby Digital stereo English, no subtitles), an option to listen to the isolated score (33 minutes 28 seconds, 7 tracks, Dolby Digital mono), and an English-dubbed version of Don't Play with Fire (89 minutes 51 seconds, 1080 progressive, 2.35:1 aspect ratio, Dolby Digtal mono English, no subtitles).

Other extras include reversible cover art with original poster art and a slipcase with art design by Tony Stella.

Summary:

Tsui Hark directed Don't Play with Fire (aka Dangerous Encounters of the First Kind). He’s known for Zu Warriors from the Magic Mountain, Shanghai Blues, Peking Opera Blues, Once Upon a Time in China, The Banquet, Twin Dragons, and Time and Tide. Besides directing, he’s also produced these notable films: A Better Tomorrow, A Better Tomorrow II, A Chinese Ghost Story, The Killer, Iron Monkey, Burning Paradise, and Black Mask.

Three high school friends who fled a fatal hit-and-run are blackmailed by an emotionally unstable young woman who provokes them to commit additional crimes, each more dangerous than the last.

Tsui Hark is part of a core group of filmmakers who began in the 1970s and were called the Hong Kong New Wave. When discussing the Hong Kong New Wave, it is important to note that there were two waves, and among those who were part of the first wave, Tsui Hark is arguably the most successful. That said, Tsui Hark’s first three films, The Butterfly Murders, We're Going to Eat You, and Don't Play with Fire (aka Dangerous Encounters of the First Kind), are an eclectic mix of films that are not as well known as his later films. Where there were three daring films in which he relied more on his instincts, in his films that followed, he would become more conscious of making commercially viable films.

Don't Play with Fire (aka Dangerous Encounters of the First Kind) is an intense action/crime drama where characters embrace their darker sides. The narrative revolves around a young woman named Pearl who spends most of her time alone torturing and killing animals. A chance encounter puts three friends in her crosshairs. She takes advantage of their misfortune and uses them as her new playthings for her sadistic games.

The opening setup does an excellent job of establishing the main characters and drawing you in. The narrative effectively builds momentum with tense moments that culminate with a bleak, bloody finale in a cemetery that serves as a perfect coda. When it comes to pacing, things move briskly, and there are ample jarring surprises so that things never become predictable.

The performances are the most surprising aspect of Don't Play with Fire (aka Dangerous Encounters of the First Kind), especially Lin Chen-Chi’s (The Spiritual Boxer) portrayal of Pearl. She delivers an exemplary performance that perfectly captures her character's lack of empathy and lust for suffering. The most notable cast member is Lieh Lo (King Boxer) in the role of Pearl’s brother. That said, all of the performances are excellent all around.

Even at this stage of his career, Tsui Hark’s instincts as a director are rock solid. While the visuals are not overly stylish, there are several striking moments that take full advantage of the grimy landscapes featured throughout. The score, like so many Hong Kong films from this era, is made up of music tracks from other films. The most notable of these are three tracks composed by Goblin for Dawn of the Dead. Other tracks include music from Star Trek—The Motion Picture, Jean-Michel Jarre's Oxygène (Part IV), and The Alan Parsons Project's Voyager.

Tsui Hark’s original vision of Don't Play with Fire (aka Dangerous Encounters of the First Kind) was immediately banned and he was forced to cut some content. The theatrical version clocks in at about 96 minutes, while an uncut version clocks in around 99 minutes. It should be noted that both of these versions contain unique footage: 13 minutes for the theatrical version and 17 minutes for the uncut version. The only known source for the footage that was removed from the theatrical version comes from a VHS tape made by Tsui Hark during production. Ultimately, Don't Play with Fire (aka Dangerous Encounters of the First Kind) is a grueling cinematic experience that is unlike anything that came before or since in Hong Kong cinema.

Don't Play with Fire (aka Dangerous Encounters of the First Kind) gets a first-rate release from Cult Epics that comes with three versions of the film and a wealth of informative extras. Recommended.

 

                                                       VHS Insert Screenshots.

Written by Michael Den Boer

So Young, So Lovely, So Vicious... - Raro Video (Blu-ray)

Theatrical Release Date: Italy, 1975
Director: Silvio Amadio
Writers: Silvio Amadio, Roberto Natale
Cast: Gloria Guida, Dagmar Lassander, Fred Robsahm, Dana Ghia, Rita Orlando, Flavio Sorrentino, Silvano Tranquilli

Release Date: April 28th, 2026
Approximate Running Time: 88 minutes 18 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English
Region Coding: Region Free
Retail Price: $29.95

"Blonde teenager Angela (Gloria Guida, To Be Twenty) is not happy about her father’s choice for his new wife, Irene (Dagmar Lassander, Hatchet for the Honeymoon) and does everything she can to destroy their relationship. Aided by her sleazy boyfriend, Sandro (Fred Robsahm), she digs deep into Irene’s past and discovers traits of mental abuse. Irene had been traumatized by a failed lesbian relationship and had latched onto Angela’s father as a means of preserving her sanity. Angela seduces Irene in an attempt to blackmail her but ends up falling in love. Tragedy strikes when Sandro intervenes, pushing Irene over the edge." - synopsis provided by the distributor

Video: 3/5

So Young, So Lovely, So Vicious... comes on a 50 GB dual layer Blu-ray.

Disc Size: 28.3 GB

Feature: 28 GB

No information is provided about the source; there is print debris that is noticeable throughout, and there are many instances where the image looks too bright. While the source retains an organic look, colors and image clarity are not optimal, and black levels exhibit some crush.

Audio: 3.5/5 (DTS-HD Mono Italian), 3.75/5 (DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. While both tracks sound clean and clear, the English language track sounds fuller. Dialogue comes through clearly, and range-wise, both tracks are serviceable. Included are removable English subtitles for the Italian language track.

Extras:

Extras for this release are limited to an audio commentary with film historians and hosts of Wild, Wild Podcast, Adrian Smith and Rod Barnett.

Summary:

So Young, So Lovely, So Vicious… was directed by Silvio Amadio, who's most known for Amuck! Other notable films he directed include Wolves of the Deep, Assassination in Rome, Smile Before Death, and That Malicious Age. 

A young woman disapproves of her father's girlfriends and does everything she can to sabotage their relationships.

The protagonist, a young woman named Angela, embodies the film's title. She’s young, she’s lovely, and she’s vicious. The result is a psychological coming-of-age melodrama that tries to masquerade itself as an exploitation film. Although there are numerous times where Gloria Guida parades around with nothing on, things never devolve into anything remotely sleazy.

The main draw of So Young, So Lovely, So Vicious… is its two leading ladies, Gloria Guida (To Be Twenty) in the role of Angela and Dagmar Lassander (The Laughing Woman) in the role of Irene, Angela’s father's girlfriend. Gloria Guida, in particular, really shines, and she does a remarkable job conveying Angela’s mood swings. Their onscreen chemistry greatly enhances their performances. Another cast member of note is Silvano Tranquilli (Black Belly of the Tarantula) in the role of Angela’s father. While his character is prominent in the opening setup, he’s nonexistent for a large proportion of the film.

While the opening setup makes Angela’s intentions clear about her father’s girlfriend, what unfolds is never predictable. The narrative does a good job drawing you in and holding your attention as it effectively builds to a bittersweet finale where Angela’s actions have real-world consequences. Another area where So Young, So Lovely, So Vicious… stands out is its visuals, which take full advantage of the scenic landscapes and never waste any opportunity to highlight its two leading ladies' beauty. Ultimately, So Young, So Lovely, So Vicious… is a deceptive film that connects more on an emotional than a visceral level like so many Italian genre films of the 1970s.

Raro Video gives So Young, So Lovely, So Vicious… a serviceable audio/video presentation and an informative audio commentary.

Written by Michael Den Boer

Adventure Calls! Karl May At CCC – Eureka Video (Blu-ray)

Theatrical Release Dates: West Germany/Yugoslavia/Italy, 1964 (Old Shatterhand), West Germany/Yugoslavia/Italy, 1968 (Winnetou and Shatterhand in the Valley of Death), West Germany/France/Italy/Yugoslavia, 1964 (The Shoot), Spain/West Germany, 1965 (Through Wild Kurdistan, In the Kingdom of the Silver Lion), West Germany/France/Italy, 1965 (The Treasure of the Aztecs), France/Italy/West Germany/Yugoslavia, 1965 (The Pyramid of the Sun God)
Directors: Hugo Fregonese (Old Shatterhand), Harald Reinl (Winnetou and Shatterhand in the Valley of Death), Robert Siodmak (The Shoot, The Treasure of the Aztecs, The Pyramid of the Sun God), Franz Josef Gottlieb (Through Wild Kurdistan, In the Kingdom of the Silver Lion)
Cast: Lex Barker, Guy Madison, Pierre Brice, Daliah Lavi, Ralf Wolter (Old Shatterhand), Lex Barker, Pierre Brice, Rik Battaglia, Karin Dor, Ralf Wolter (Winnetou and Shatterhand in the Valley of Death), Lex Barker, Marie Versini, Ralf Wolter, Rik Battaglia, Marianne Hold, Maria Grazia Francia (The Shoot), Lex Barker, Marie Versini, Ralf Wolter (Through Wild Kurdistan), Lex Barker, Marie Versini, Ralf Wolter, Sieghardt Rupp (In the Kingdom of the Silver Lion), Lex Barker, Gérard Barray, Michèle Girardon, Rik Battaglia, Alessandra Panaro (The Treasure of the Aztecs), Lex Barker, Gérard Barray, Michèle Girardon, Rik Battaglia, Hans Nielsen (The Pyramid of the Sun God)

Release Date: April 27th, 2026 (UK), April 28th, 2026 (USA)
Approximate Running Times: 120 Minutes 41 Seconds (Old Shatterhand), 89 Minutes 26 Seconds (Winnetou and Shatterhand in the Valley of Death), 118 Minutes 26 Seconds (The Shoot), 103 Minutes 3 Seconds (Through Wild Kurdistan), 95 Minutes 32 Seconds (In the Kingdom of the Silver Lion), 101 Minutes 1 Second (The Treasure of the Aztecs), 98 Minutes 51 Seconds (The Pyramid of the Sun God)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC (All Films)
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono German (All Films), LPCM Mono English
Subtitles: English (All Films)
Region Coding: A,B
Retail Price: £64.99 (UK), $109.95 (USA)

"The writer Karl May is a household name in his native Germany, where he is associated with thrilling Western tales and sweeping adventure stories. Following earlier attempts to bring his novels to the screen, films adapted from May’s work found their greatest success in the 1960s. Seven of them were produced by Artur Brauner at CCC Film, all starring Lex Barker and directed by veteran filmmakers Robert Siodmak, Hugo Fregonese, Franz Josef Gottlieb, and Harald Reinl.

Old Shatterhand and Winnetou and Shatterhand in the Valley of Death both feature May’s most beloved characters: the frontiersman Old Shatterhand and the Apache chief Winnetou, who find themselves first caught up in a plot to start a war between Native Americans and white settlers and then a scheme to steal a gold shipment from the US Army. The Shoot, Through Wild Kurdistan and In the Kingdom of the Silver Lion all follow adventurer Kara Ben Nemsi as he travels through the Balkans and the Middle East, while The Treasure of the Aztecs and The Pyramid of the Sun God chart the exploits of Dr Karl Sternau as he seeks vast riches to fund political action in Mexico." – Synopsis provided by the Distributor

Video: 4/5 (Old Shatterhand, Winnetou and Shatterhand in the Valley of Death, The Shoot), 3.5/5 (Through Wild Kurdistan, In the Kingdom of the Silver Lion), 4.25/5 (The Treasure of the Aztecs, The Pyramid of the Sun God)

Here’s the information provided about this release's transfers, "The Masters of Cinema Series is honored to present all seven of Artur Brauner’s Karl May adaptations for the first time ever on home video in the UK from brand new 4K restorations by CCC Film."

Old Shatterhand and Winnetou and Shatterhand in the Valley of Death come on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 23.3 GB (Old Shatterhand), 17 GB (Winnetou and Shatterhand in the Valley of Death)

The Shoot and Through Wild Kurdistan come on a 50 GB dual layer Blu-ray.

Disc Size: 44.1 GB

Feature: 22.6 GB (The Shoot), 18.3 GB (Through Wild Kurdistan)

In the Kingdom of the Silver Lion comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.1 GB

Feature: 26 GB

The Treasure of the Aztecs and The Pyramid of the Sun God come on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 21.5 GB (The Treasure of the Aztecs), 19.7 GB (The Pyramid of the Sun God)

The sources for each film have been cleaned up and they all retain an organic look. The best-looking transfers are The Treasure of the Aztecs and The Pyramid of the Sun God, while Through Wild Kurdistan and In the Kingdom of the Silver Lion are the weakest. Flesh tones look healthy; colors look correct; image clarity and black levels are strong; and compression is solid.

Audio: 4/5 (LPCM Mono German - All Tracks), 3/5 (LPCM Mono English - All Tracks)

All films come with a LPCM mono mix in German with removable English subtitles, while Old Shatterhand, Winnetou and Shatterhand in the Valley of Death, and The Shoot come with a LPCM mono mix in English and German with removable English subtitles for moments not dubbed in English. That said, there's no contest; the German tracks easily beat their English-language counterparts when it comes to depth. The German tracks sound clean, clear, and balanced, and ambient sounds are well-represented.

Extras:

Extras on the disc one include a theatrical trailer for Old Shatterhand (3 minutes 34 seconds, Dolby Digital mono English, no subtitles), a theatrical trailer for Winnetou and Shatterhand in the Valley of Death (4 minutes 8 seconds, Dolby Digital mono German with non-removable English subtitles), an archival featurette on actress Daliah Lavi (2 minutes 26 seconds, Dolby Digital mono German with non-removable English subtitles), an archival making-of documentary on Old Shatterhand and Winnetou and Shatterhand in the Valley of Death (17 minutes 44 seconds, Dolby Digital stereo German with non-removable English subtitles), an interview with Sir Christopher Frayling titled Old Shatterhand and the Works of Karl May (25 minutes 5 seconds, Dolby Digital stereo English, no subtitles), an introduction by Sir Christopher Frayling for Winnetou and Shatterhand in the Valley of Death (5 minutes 20 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with film historian David Kalat for Old Shatterhand.

Extras on disc two include a theatrical trailer for The Shoot (2 minutes 55 seconds, LPCM mono German with non-removable English subtitles), a theatrical trailer for Through Wild Kurdistan (3 minutes 44 seconds, LPCM mono German with non-removable English subtitles), archival news footage on The Shoot (51 seconds, LPCM mono German with non-removable English subtitles), an archival making-of documentary titled Making Karl May's Oriental Cycle (21 minutes 15 seconds, LPCM stereo German with non-removable English subtitles), an archival restoration featurette for The Shoot and Through Wild Kurdistan (21 minutes 5 seconds, LPCM stereo German with non-removable English subtitles), an introduction by Sir Christopher Frayling for The Shoot (3 minutes 22 seconds, LPCM stereo English, no subtitles), and an introduction by Sir Christopher Frayling for Through Wild Kurdistan (3 minutes 12 seconds, LPCM stereo English, no subtitles).

Extras on disc three include a theatrical trailer for In the Kingdom of the Silver Lion (4 minutes 23 seconds, LPCM mono German with non-removable English subtitles), an archival restoration featurette for In the Kingdom of the Silver Lion (3 minutes 8 seconds, LPCM stereo German with non-removable English subtitles), an interview with producer Alice Brauner, managing director of CCC Film and daughter of CCC founder Artur Brauner titled Karl May at CCC (15 minutes 29 seconds, LPCM stereo German with non-removable English subtitles), an interview with film historian Sheldon Hall on the late career of Robert Siodmak titled Prodigal Son (26 minutes 8 seconds, LPCM stereo English, no subtitles), and an introduction by Sir Christopher Frayling for In the Kingdom of the Silver Lion (3 minutes 5 seconds, LPCM stereo English, no subtitles).

Extras on disc four include a theatrical trailer for The Treasure of the Aztecs (4 minutes 5 seconds, LPCM mono German with non-removable English subtitles), a theatrical trailer for The Pyramid of the Sun God (4 minutes 5 seconds, LPCM mono German with non-removable English subtitles), an archival interview with Bernhard Schmid, co-editor and contributor to Karl May Verlag (6 minutes 47 seconds, LPCM stereo German with non-removable English subtitles),an introduction by Sir Christopher Frayling for The Treasure of the Aztecs (4 minutes 12 seconds, LPCM stereo English, no subtitles), an introduction by Sir Christopher Frayling for The Pyramid of the Sun God (3 minutes 13 seconds, LPCM stereo English, no subtitles), and an audio commentary with David Kalat for The Treasure of the Aztecs.

Other extras include a 60-page book with cast & crew credits for each film, an essay titled The Making of a German Myth: Karl May from Imposter to National Treasure written by Holger Haase, an essay titled A Frontiersman: Karl May and Popular German Cinema written by Tim Bergfelder, an essay titled Old Shatterhand: Reclaiming and Rehabilitating the German Superman Archetype written by Lee Broughton, an essay titled More German Than the Germans: Lex Barker in Germany written by Boris Brosowski, and information about the transfers titled Notes on Viewing. Note: The hard case and book are limited to 2000 copies.

Summary:

All films that are part of this collection were adapted or inspired by German author Karl May’s writings. Karl May wrote adventure stories that he primarily sets in the American Old West, the Orient, and the Middle East. The other key component when discussing the films in this collection is producer Artur Brauner, whose other notable films are a series of Dr. Mabuse films, a series of Krimi films, and a handful of Jess Franco films, notably Vampyros Lesbos and She Killed in Ecstasy.

Old Shatterhand: A Davy Crockett-like adventurer named Old Shatterhand and an Apache Indian named Winnetou try to stop a group of renegade soldiers who are trying to derail a peace treaty between the American government and Indians.

Winnetou and Shatterhand in the Valley of Death: When an army gold shipment is stolen and the Indians are blamed, Old Shatterhand and Winnetou try to bring the culprits to justice.

Although the Italians are most known for making Euro-Westerns, Germany was another country that made a few notable films. Old Shatterhand has a stronger connection to the Italian westerns because its score was composed by Riz Ortolani, whose notable western scores include Requiescant, Day of Anger, and The Unholy Four. That said, this is where any connection to the Italian spaghetti western ends.

The Shoot: A bandit known as The Shoot terrorizes the Albanian countryside.

Through Wild Kurdistan: When the son of a sheikh is kidnapped by the Turkish military, his father enlists the help of an adventurer named Kara Ben Nemsi.

In the Kingdom of the Silver Lion: An old foe, though dead, comes back to exact his revenge against Kara Ben Nemsi.

The Shoot, Through Wild Kurdistan, and In the Kingdom of the Silver Lion shift the action from the American Old West to the Middle East. Although there is a change of scenery, these films have many traits that are associated with the Western film genre. An episodic narrative connects these three films, picking up where the last left off. Besides the protagonist, Kara Ben Nemsi, there is an array of other characters who play a significant role in these films.

The Treasure of the Aztecs: A German adventurer named Dr. Karl Sternau, wanting to help Mexican revolutionary forces, looks for Aztec treasure to fund their fight against their French occupiers.

The Pyramid of the Sun God: Old enemies and new foes try to get in Dr. Karl Sternau’s way of obtaining Aztec treasure.

Both films are set in Mexico during a revolution and like the Old Shatterhand films that were set in the American Old West, they have a Euro-Western feel. The Treasure of the Aztecs and The Pyramid of the Sun God were directed by Robert Siodmak, who also directed The Shoot. He’s a filmmaker most known for his contributions to film noir. The narrative for The Pyramid of the Sun God picks up right where The Treasure of the Aztecs left off.

When it comes to the cast and performances, the main link throughout is Lex Baxter (La Dolce Vita) in the role of each film's protagonist. While he more than fulfills the role of the hero, each protagonist is essentially the same, albeit in a different part of the world. The rest of the cast features several who appear throughout these seven films in various roles. Another performance of note is Ralf Wolter (One, Two, Three), who portrays the protagonist's sidekick in these films. His characters are the main source for comic relief.

Despite there being four directors who worked on these seven films, they have a uniform style that’s not distinct to any one director. That said, it's clear the main creative force behind these seven films is Artur Brauner. From a production standpoint, all of these films do a remarkable job maximizing their resources. Another strength of these films is the visuals, which do an excellent job showcasing the beautiful vistas featured.

All of the narrative does a superb job drawing you in and holding your attention as they build to their finales. While these films are dialogue heavy, they do not have a good amount of action in them. Through Wild Kurdistan is the film with the most amount of action, and all films save their biggest action set piece for their finale. Ultimately, all of these films are well-crafted and highly entertaining. Recommended for fans of Euro-Western and adventure films.

Adventure Calls! Karl May At CCC is an excellent release from Eureka Video; each film comes with a strong audio/video presentation and informative extras. Highly recommended.

Written by Michael Den Boer