'The Indian Scarf' will entertain fans of a variety of old-time movies

The Indian Scarf (aka "Das Indische Tuch") (1963)
Starring: Heinz Drache , Corny Collins, Klaus Kinski, Ady Berber, Gisela Uhlen, Hans Nielsen, Hans Clarin, and Elisabeth Flickenschildt
Director: Alfred Vohrer
Rating: Seven of Ten Stars

After a wealthy man is strangled to death, his greedy relatives gather at home for the reading of his will. Here, they learn, they must spend a week together and that anyone who leaves early does not get a share of the inheritance. Within hours, family members start dying, each strangled with Indian silk scarves. The estate's executor, Tanner (Drache), sets out to match wits with the killer, hoping to discover his identity before he (or she) completes the murder spree.

"The Indian Scarf" is a film that mixes attempts at capturing the tongue-in-cheek feel of the "dark old house" mysteries of the late 1930s and early 1940s, and a bone-chilling brutality that predicts the murder scenes that became a hallmark of early Dario Argento and 1970s B-movies. It's an interesting attempt putting disparate elements together in a single story, and it mostly works because even in the goofy sections we're treated to stylish cinematography and film-norish lighting that takes full advantage of the black-and-white medium. The outdoor scenes, of which the film has quite a few more than is the norm for pictures like this

Another strength of the film is its cast. Their look and the characters they play reflect the "dark, old house" vibe the film is going for, and this goes a long way toward "The Indian Scarf"'s effectiveness. I particularly appreciated Heinz Drache as Tanner, who is both the romantic lead and co-comic relief with Ady Berber as the obligatory creepy man-servant character. The jokes don't always land, but a running gag involving Tanner's detective work is fun, and Drache's plays it up perfectly as the film progresses. Corny Collins and Gisela Uhlen, meanwhile, are both fine as the pretty (but possibly murderous) feminine/love interest presence in the film, while Klaus Kinski serves as a perfect (perhaps too perfect) possible killer. The second half of the film is really driven by the actors and their performances, with every cast-member getting a turn in the spotlight and making a good showing of themselves.

Perhaps one of the most remarkable things about "The Indian Scarf" is its strong ending, one which I didn't see coming, and I'm certain you won't either. Too many old mystery films seem to run out of steam at the end, sputtering to a close, or just stopping rather than ending with a proper denouement. Here, we get a wrap-up that's both punchy and a punch-line. Although there are several humorous misfires, the film goes out strong.

I think fans of directors like Mario Bava and Dario Argento, as well as those who enjoy 1940s mysteries and the "old dark house" genre will enjoy this one.