There are defining women of Krimi like Karin Dor and Karin Baal. But she was the original Krimi-girl and later became the leading Krimi-woman, and then even got her own TV-Krimi series in the 1960s (!) that lasted for three seasons. No one would come close to:
KAI FISCHER
Born in 1934 in Prague as "Kai Anne Inge Fischer" she had to move/flee/was deported with her family (her father was a railway administrator, her mother a former opera singer) at the end of 1945 to Halle (Russian Occupation Zone), where they had to live with other refugees in an abandoned water-reservoir tower and then to (American Occupation Zone) Munich. Due to some mishap of fate, she attended an all-boy school, and when puberty hit, her parents were told to take her off that school as she "was too much women for the boys to handle.". Needless to say, it was told, she attended the church choir for the sole reason to "rough up" boys afterwards. (Stern, May, 23rd, 1959)
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| Photo-Model |
After leaving high school in 1952, she was part of a trapeze cabaret act and posed as a model. Then, after extensively visiting the natural hunting ground for obese film producers (like coffee bars and lakeshores), she was finally bought in by producer Joe Stöckl (whom she admittedly would not even have looked at in these places) for "Die lieben Verwandten" a heimat-comedy. As usual.
(Stern, May 30th 1959)
A natural red-head with an ironic smirk she was then cast as the sexual attractive female lead theat either would seduce married men or be the female "loose" buddy to the chaste leading girl of the German 1950s romantic comedies. As part of the thieves in "Wirtshaus im Spessart" (The Spessard Inn)1958 she became a national celebrity alongside "naive" Liselotte Pulver, the star of this historical scary comedy. Her other qualities like her exquisite piano-play, singing and certified ballet-dancing sadly was not showcased at all. Instead, she gains the nick-name "Corsage-Kai," as not a single of her appearences takes place without that kind of clothing.
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| Spessart Inn |
She was perfect for the wave of sexually seductive krimis that followed and found her type in "Mädchen für die Mambo Bar" a light-hearted movie about girl trafficking. She made her way up to international productions like the similarly themed "Too Hot to Handle" with Jane Mansfield and Karlheinz Boehm or "The Hellfire Club", where her nude scenes were cut (or so it is told in the ancient tales...).
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| Too Hot to Handle |
Her private life seemed to be quite tumultuous. It was an open secret that she needed "real men" that sometimes used force during the fierce arguments. When she was asked whether it bothered her to be the girl in the movie that was on the receiving end of staged violence, she smirkingly replied: "But those who hit me in the movies, they are not even real men...". In 1959 she even caused a gang war between two hard-hitting gang leaders who both wanted to protect her from the other guy. Numerous affairs with influental (Peter Kraus, Peter van Eyck) or rich men follow, each boiling up to fist-handed dramas with her "friend", the shady film-merchant Joe Metzger.
With the emergence of the Krimi in 1958 she was the first choice for femme fatales, basically repeating her real-life situation in the proto-Krimi "Grabenplatz 17" by Krimi veteran Erich Engl. There she met scriptwriter Wolf Neumeister, with whom she drafted a series of movies around a female PI, obviously influenced by the Honey West Novels by G.G. Fickling (a married couple, both writing).
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On the set of "Denn keiner ist ohne Sünde"
flirting with Roberto Baldini, who
was got beaten up by one of her "muscle"-
boyfriends after the premiere-show of
that movie... |
When Wolfgang Hartwig gave her the role of "Lilly" in the classic sleaze-bomb "Die Nackte und der Satan" (The Head) 1959, he insisted that she had to go topless. Kai did not agree and sent some "friends" over to make her point. Hartwig then replaced her and deleted all her scenes. Her response was filing a lawsuit over 4000 DM, which she won, later claiming that she received 10.000 DM from Hartwig, that she donated.
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| Kai in "The Head" |
With her star ascending, Fischer now entered the glitzy world of the Jet-Set, brawling her way through numerous high-class-club fistfights with women and men. She did not discriminate and was obviously highly entertaining, both for her partners and for the readers of the yellow press. Aiming higher, she seriously dated a minor from an ancient Austrian noblehouse until the head of the house forbade contact by law with her...
Needless to say, Wim Wenders (City of Angels) admitted to having a huge boyhood crush on her and cast her for one of his early films (Die Angst des Torwarts vor dem Elfmeter).
In 1961 she underwent cosmetic surgery (a nose-job, apparently) to prepare for her long prepared TV-series: In 1963 she got the leading role in "Die Karte mit dem Luchskopf" (The Card with the Lynx-head), a TV-series, designed to cater to the female Krimi tastes (as the Rialto-movies were a tad too scary...).
Here she played the head of a private-eye agency where she has to pose as secretary as the clients and the thugs would not accept her as a dangerous investigator. She co-wrote most of the stories. The series ran for 13 episodes in three seasons until 1965 and is the total Kai Fischer overdose. With that her market value increased even more in the Krimi movies and she appeared in quick succession in: |
| Zimmer 13 (Room 13) |
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Wirtshaus von Dartmoor
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Ungeheuer von London City (Monster of London BEW CCC)
Der Würger vom Tower (Strangler of the Tower E.C. Dietrich)
and more TV-krimis always as either call-girl, head of a strip-club, or seductress.
1967 sees her top-billing the Ernst von Theumer schlock-opus "Maneater of Hydra/Island of the Doomed" where she performed alongside Krimi-actress Elisa Montes. She is eaten up by plants in that. If you wanted to know.
In 1968 she starred alongside Heidrun Hankammer (Gorilla of Soho) and real-life assassination plotter Tamara Baroni (just out of prison...) in the E.C. Dietrich smutpiece
"Die Nichten der Frau Oberst" (The Colonel's Nieces), which was incredibly successful (a top-10 grossing movie of that year) and started the cycle of sex movies based on "literature" (which made it easier for those teachers and professors of language to go into cinemas and watch the movies "Dear, I'm going out to see a movie by Guy de Monpassant, it's for work, you know?"—"Certainly my darling...."). On the set, she had a big fallout with director/producer Dietrich, who claimed to have her hired specifically for going naked, which she refused.
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| Colonel's Nieces |
Dietrich should not have worried. Hankammer and Bertoni made this movie an international success.
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| Bertoni and Hankammer |
After that, she took part in the Holy Grail of lost Gialli "Y-XX: Formel des Bösen" an ultra-sleazy "inspiration" to "Cat o' nine tails" AND "Delirio Caldo" of which no moving sequence seems to have survived (KRIMI! is working on this!) but then concentrated on work for tv where she was regularly cast in krimis, though little else. She began theatrical work and wrote her own Krimis under an alias. She even recorded an LP called "Kai Fidelity" with erotic chansons.
In 1977, Ingmar Bergman casted her alongside David Carradine as aging prostitute in "The Serpent's Egg". Regularly she returned to the realm of TV-Krimis (Derrick) and exploitation pictures like "Holocaust 2 - The Revenge" from 1980.
Until 2002 she had one or more photographic-equipment-stores in Munich, and worked as a phtotographer in arts, from there, the traces vanish, but she is still alive.
She could tell us so much, we surely hope she's doing well! And if anyone of you, dear readers, know of her whereabouts, let us know!
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| In the TV-Krimi series "Derrick" ca 1980 |
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| 1984 |
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| Casting Card |
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| 1975 |
