The Devil Strikes at Night (1957) User Reviews

Serial Killer - Nazis - Same Thing!

[hitchcockthelegend · 8/10 · 14 March 2016]

Nachts, wenn der Teufel kam is directed by Robert Siodmak and written by Will Berthold (article) and Werner Jörg Lüddecke. It stars Claus Holm, Annemarie Düringer, Mario Adorf, Hannes Messemer, Carl Lange and Werner Peters. Music is by Siegfried Franz and cinematography by Georg Krause.

A serial killer is terrorising Hamburg, Germany, during World War II. When the local police struggle to catch him, the Gestapo are brought in to crack the case.

The basis for the story is that of real life serial killer Bruno Lüdke, here played by Adorf. Yet this is only a side-bar to the actuality of Siodmak's film, for it's a clinical deconstruction of Nazi Germany at the time, a look at the final throes of that regime. It shows how the corrupt powers would do anything to not make their government look bad, with orders even coming from Adolf himself! It's all very fascinating and potent, and well performed. There's some nice visual touches via the night sequences, though you reasonably expect to have more from Siodmak, a fine purveyor of expressionism and noir chiaroscuro. There's some contrivances and a couple of badly staged action sequences, but this remains a tough political drama with mystery shadings. 8/10

Geheime Reichssache

[radiobirdma · 8/10 · 29 October 2016]

Yo, Super Mario. Though while later Eurocrime "cult" actor Mario Adorf does quite a convincing job as the retarded serial killer in Robert Siodmak's Nazi noir The Devil Strikes at Night, ex-boxing-champion Claus Holm – imagine a German Van Heflin – as the crippled police Kommissar and Hannes Messemer as his SS-Obergruppenfuehrer opponent easily steal the show from him: Their confrontations, chock-full of icy dialogue, constitute the epicentre of this sardonic high tensioner that doesn't lose its momentum for a single second, due to Siodmak's remarkably concentrated direction, aided by the unobtrusive, but perfectly effective camera work by unjustly forgotten cinematographer Georg Krause (who did Kubrick's Paths of Glory – !! – a year before), competent editing by Walter Boos (who went on to do some Schulmaedchen-Reports in the 70s), and excellent supporting performances by Werner Peters and the strikingly beautiful Annemarie Dueringer. "Belief? Where did you dig up that word?", Messemer's slick SS herrenmensch asks the crushed Kommissar. Once, they even had great screenwriters in Germany, among them Werner Joerg Lueddecke, who sets the fast-paced, bitter, cynical and sometimes darkly humorous tone of the movie. When the Kommissar is sent to war in the end – the year is 1944 –, he reassures his trembling girlfriend: "It won't take much longer. Soon, you can reach the front line by city train."

German serial killers are the meanest and most disturbing.

[Coventry · 8/10 · 25 December 2018]

There's nothing as intense and disturbing as German-produced serial killer films, especially when they are inspired by raw, macabre factual cases, like "M" (Peter Kürten), "The Tenderness of Wolves" (Fritz Haarmann) and "Angst" (Werner Kniesek). Okay, admittedly, that last one is 100% Austrian, but also and truly one of the most harrowingly realistic thrillers ever made. "The Devil Strikes at Night" is another masterpiece that fits into this category, as it's based on serial murderer Bruno Lüdke and very accurately depicts the period and the circumstances of his arrest in Berlin during the summer of 1944. Mario Adorf, still in one of the earliest roles of his rich career, impressively portrays the strong and potent but mentally disabled Lüdke. He breaks through the cork of a wine bottle with the tip of one finger, but he also occasionally feels the incontrollable urge to strangle young women, like the Hamburg waitress Lucy Hansen. Her lover, Willi Keun, is wrongfully arrested for the murder and sentenced to death, but you don't really care since he's a Nazi commander and a sleazy pervert. Commissioner Axel Kersten, however, does believe in justice and connects the murder to several ones that took place before the war. He unmasks Lüdke, but this isn't good news for SS-Gruppenfuhrer Rossdorf because he doesn't like the idea of a handicapped Aryan being able to remain below the radar in their superior Third Reich. Master director Robert Siodmak ("The Spiral Staircase") returns to Germany to portray his native country how it really was during World War II: corrupt, ugly, hypocrite and completely devoid of honest and honorable men! It's not a very exciting or action-packed thriller, but it's hugely atmospheric, depressing and wonderfully shot by Georg Krause. My inner horror fanatic is somewhat disappointed that a killer suspected of 51 murders is only seen strangling one victim, but Siodmak opted to put all his energy into the drawing of Lüdke as an atypical serial murderer and the slow but certain extirpation of Nazism.

THE DEVIL STRIKES AT NIGHT (Robert Siodmak, 1957) ***

[Bunuel1976 · 7/10 · 19 February 2014]

Following an 11-year Hollywood stint, during which he mainly excelled in film noirs, German director Siodmak returned to his native country – where his promising initial career had previously been cut short by the rise of Nazism. Arguably the best-known of his latter-day efforts, the film under review deals in part with this particular 20th Century scourge and was distinguished by its receiving an Oscar nomination for Best Foreign Language Film; prior to this, Siodmak had only been personally short-listed in a Best Direction nod for the seminal noir THE KILLERS (1946).

Anyway, while this revolved around a definitely intriguing premise – in the midst of WWII, a chase is on by the Police and Secret Service for a serial killer of women – I could not help feel somewhat let down by the end result. Siodmak's apprenticeship at the tail-end of the German Expressionist movement serves him in good stead with respect to the film's shadowy visuals; that said, a social commentary was clearly intended a' la Fritz Lang's M (1931; this greatest of all serial killer films, also emanating from Germany, is the obvious model here) – but, apart from its occasional jabs at the Third Reich, the impact is curiously muted. As with Lang's masterpiece, the murderer's identity is immediately revealed to us (he is well played by future "Euro-Cult" regular Mario Adorf) – his activities being also similarly counterpointed by the authorities' attempts to capture him.

The film, in fact, falters where Lang's found its greatest inspiration: there is no diatribe here by the culprit as to his helplessness in committing these heinous acts against others who did wrong out of choice. Rather, Adorf plays up his character's mental deficiency in his defense, and – disappointingly – no relation is really made between an individual (i.e. minor) crime spree and the genocide being perpetrated in the name of racial superiority by the German people! Indeed, the Nazis initially take this opportunity to target even imperfect Aryan specimen – but after the crippled policeman on the case 'raises a stink' (his thoroughness is demonstrated by the tearing up of newly-installed wallpaper at an apartment in order to verify an old journal's reportage of the murders) when a philandering German official accused of slaying one of Adorf's victims is sentenced to death, the Third Reich retracts the whole incident (though the killer is still executed) and the cop transferred to the war front!

While THE DEVIL STRIKES AT NIGHT is relentlessly grim and talky, it has its fair share of interesting sequences and performances: the early (and bafflingly) solitary murder sequence during an air raid; Adorf offering an incriminating handbag to his current crush and being reluctantly convinced to hand it over to the local authorities; the defiant Adorf proudly and bemusedly leading a posse of investigators to the spot in the country where he buried one of the 55 (or 80, depending on which source to believe) bodies he disposed of; the crippled investigator calling on the SS officer (Hannes Messemer) who commissioned him during a debauched party at his mansion and the confrontation which ensues; the train station finale in which the now-enlisted investigator denies the very existence of the Mario Adorf character to the above-mentioned girl the latter fancied, etc. Ultimately, the film would make a fine companion piece to Anatole Litvak's star-studded, big-budget Hollywood epic THE NIGHT OF THE GENERALS (1967) which equally deals with an outbreak of serial killings during WWII.

The "serial-killer movie" is not an American invention

[ChWasser · 9/10 · 17 April 2001]

There is a strange continuity in German movies: about every 20 years someone makes a film about a serial-killer. Apart from "Es geschah am hellichten Tag" (recently remade by Sean Penn) I'm thinking of the following works:

* M - Eine Stadt sucht einen Mörder (1931)

* Nachts, wenn der Teufel kam (1957)

* Die Zärtlichkeit der Wölfe (1973)

* Der Totmacher (1995)

While three of these films are more or less loosely based on the case of Fritz Haarmann who killed more than 24 young men in the 20s, "Nachts, wenn der Teufel kam" is about Bruno Luebke who murdered several people in Hamburg during WWII (also a true case). In contrast to the picture that many American movies (e.g. "Hannibal") paint of a serial-killer as an evil being who kills for pleasure, these German movies show men who are helpless victims of their urge to kill, to which they succumb not when they want to, but when they 'have' to. Mario Adorf plays Bruno as such a man and his performance is of the same rank as Peter Lorre's in "M" or Götz George's in "Totmacher" IMO.

Even better is Hannes Messemer as an SS-Officer, who, for 'political' reasons, wants another man executed against better judgement. The main forte of the film however, is the depiction of everyday-life in the last years of the third Reich. In the scene where the ugly harvest helpers get their reward from a sweating hanger-on Robert Siodmak perfectly captured the moral corruption (thinly veiled by empty propaganda phrases) within Nazi-Germany. In view of mass-murder of an entirely different caliber (i.e. genocide), the question if the right man is sentenced for a killing series becomes secondary in the end.

Perversion of justice.

[FilmCriticLalitRao · 27 March 2003]

Nachts,wenn der Teufel kam has realistically shown perversion of justice as a convincing argument against nazis.Robert Siodmak has convincingly outlined the historical background to examine one of the most ghastly episodes in German history.He elucidates how Nazi leadership made effectual use of crime,violence and totalitarianism in order to remain in power.Nachts,wenn der Teufel kam appears realistic as a result of nice all-round acting performances by Mario Adorf and Hannes Messemer.The film was a big commercial success as it won numerous prizes including the best direction award at Karlovy Vary.

Perfect example for fact versus fiction in film

[Radu_A · 7/10 · 16 May 2016]

This film is the masterpiece of Robert Siodmak's late career, helped by a brilliant performance by Mario Adorf as Bruno Lüdke, which was the starting point for a five decade career. Adorf was reluctant to take the part, but got involved with the script and had access to the police files. He was convinced of Lüdke's guilt at the time.

However, all the "facts" of Will Berthold's "retelling" have been proved wrong by Dutch criminologist Jan Blaaw. After a 3-year-investigation, he came to the conclusion that Lüdke could not have committed a single of the alleged 85 murders. The hero of this film was actually the real-life villain. Commissar Franz, who located and interrogated Lüdke, led his testimonies in a desired direction. His motive was to avoid military conscription through an overwhelming investigative success, which backfired completely in the end.

For this very reason, this is one of the most interesting post-war German films to watch. Siodmak's premise to show how police procedure is warped through political action is still chilling. However, the most important aspect of this film is that you can experience manipulation of facts in fiction first-hand, if you first watch the film and then read in-depth reports about the case.

Räder müssen rollen für den Sieg.

[dbdumonteil · 9/10 · 5 October 2008]

"Nachts..." is the third movie of Siomak's "fourth "career ;a career that began in his native Germany ("Menschen am Sonntag" ) continued in France ("Mollenard Capitaine Corsaire" ) reached peaks of film noir in America ("the killers" )and ,back in Germany ,brought more remarkable works such as "Die Ratten" or "L'Affaire Nina B. " (made with French money).

"Nachts" is Siodmak at his most ambitious,a complex movie which demands your undivided attention.It's probably his finest hour in his final years at a time when he was living in his former homeland ,after the fall and before the wall.The Siodmak world is more than a world in ruins , a world that has lost its way and that has forgotten that it is in ruins.Helga and Axel do not understand that all they do is pointless from the very start :what's the point of finding a killer when millions of innocents are slaughtered ?Didn't they understand that their Aryan "race" is pure and that a serial killer is unthinkable ?Didn't they understand that the scapegoat is necessary for the others to go on? First the Jews ,then the gypsies ,the gays,the mentally retarded and the crippled ,and then a German ,a "normal" Aryan,Willi Keun? AS in "Desolation row" does "which side are you on? " matter when you're sailing on the Titanic?

"Nachts" predates such works as "nights of the general" (which was much inferior ,in spite a much more comfortable budget) by Litvak "Jagdzenen aus Niederbayern " by Peter Fleischman -the first scene has certainly influenced that director- and even Siodmak's own "Nina B".

"Nachts" showed that Siodmak was still a film noir past master: take the scene when Bruno (a sensational Mario Adorf) meets the Jewish lady in Frau Lehman's flat:it's a suspenseful scene to rival the best of Hitchcock.Axel's and Helga's desperate attempts to save an innocent was a subject Siodmak had already treated in his adaptation of William Irish (aka Cornell Woolrich)"Phantom Lady" .But the most extraordinary sequence is the "subjective flashback" in the forest where the killer relives what he did where the trees seem like bars of the prison of his mind.

"Nachts" was Siodmak at his most pessimistic :the train bound for "glory" slowly moving into the dark night as Axel mumbles " Bruno Luedke? what are you talking about? This man never was" .Such an ending anticipates that of Joseph Losey's "Mr Klein" (1975).Even if Siodmak "sweetens " his harsh final -he "saves " Helga-,the night has only begun....

Robert Siodmak takes the film noir back to Germany

[frankde-jong · 7/10 · 24 March 2020]

"Nachts, wenn der Teufel kam" is a film from the second German period of Robert Siodmak. Leaving Germany with the rise of Nazism in 1933 he returned to his home country after the Second World War in 1952. In the USA his film career suffered from his image of being a film noir director, in Germany this same image was more of a blessing. Also "Nachts, wenn der Teufel kam" is a good example of the film noir genre.

In German films the serial killer is portrayed in a different way than in for example American films. In American films he is portrayed as a savage beast who likes to kill. In German films the serial killer is both perpetrator and victim. He is a psychopat who has to kill. This is most clearly in "M" (1931, Fritz Lang), but is also the case in "Nachts, wenn der Teufel kam" (1957) and "Es geschah am hellichten Tag" (1958, Ladislao Vajda). Most convincing in his role as psychpat remains however Peter Lorre in his role as Hans Beckert in "M". In "Nachts, wenn der Teufel kam" Mario Adorf as Bruno Luedke can not match that performance, and he is hardly te blame for that.

In "M" the serial killer is hunted down by organised crime (who wants to keep the level of police activity at a low level). In "Nachts, wenn der Teufel kam" there is also some sort of organised crime, namely state crime in the form of the Nazi government. They are however not interested in the real killer, whose identity is uncovered by an honest detective. For reasons of public relations they prefer to give a death sentence to an innocent man, thereby showing their contempt for the value of a human live.

"Nachts, wenn der Teufel kam" takes place in 1944, at the end of the war. A great deal of the film is devoted to the (miserable) life of German citizens. In this way there are similarities with films such as "Germania anno zero" (1948, Roberto Rossellini) or "Der Untergang" (2004, Oliver Hirschbiegel).

Morality tale about state hypocrisy in the form of a thriller

[jjsemple · 10/10 · 10 February 2007]

As I read AO Scott's recent New York Times review of "The Lives of Others," I became aware of its resemblance to another great German film. The theme of "Nachts, wenn der Teufel kam" (1957) is strikingly similar to "The Lives of Others." Directed by Robert Siodmak, it stars Hannes Messmer, Claus Holm, and Mario Adorf.

The great thing about "Nachts, wenn der Teufel kam," and the reason I feel it's so similar to "The Lives of Others" -- at least according to AO Scott's rundown and my own take -- is its morality tale about state hypocrisy in the form of a thriller aspect.

An ordinary German police detective, not a Nazi ideologue (Claus Holm) investigates the sex-crime murder of a young woman in Hamburg during the war. As the killer continues to strike with seeming impunity, Holm is convinced that the killings are the work of one man. The case takes a political turn when the Führer decrees that degenerate capitalist abominations such as "mass murder" and "sex criminals" cannot exist in the morally perfect Reich. Hence the hypocrisy of a mass murdering regime that is loath to permit even the slightest hint of a mass murderer in its midst.

Hannes Messemer, "The Great Escape" (1963) & "Il Generale della Rovere" (1959) is called in to provide SS oversight on Holm's investigation, i.e., to hush the case up. The Nazis, it seems, would rather have the criminal continue to kill and get away with it than have the facts of the investigation leak to the public. So the SS decides to find a fall guy and hang him for the crimes.

In the end, the killer is caught by Holm. To prevent his stellar detective work from coming to light, Holm is sent to the Russian front -- presumably never to return.

Made on Siodmak's return to Germany, after his wartime stint in Hollywood, this is not an easy film to catch, but well worth the effort, especially for those viewers who like "The Lives of Others."

What happened to honest German men in Nazi Germany

[Horst_In_Translation · 6/10 · 13 March 2016]

"Nachts, wenn der Teufel kam" or "The Devil Came at Night" is a German black-and-white film from almost 60 years ago. It was a huge success and apart from dominating the German Film Awards, it also managed an Academy award nomination, but came short against the Fellini entry. Robert Siodmak was already an Oscar nominee for Best Director himself and he is probably the star here. However, the cast includes many established and successful German actors as well, even if all of them are not known anymore to movie audiences today. With one exception. This film was maybe the breakthrough performance for young Mario Adolf, considerably over 80 today. He plays a serial killer in this movie, who is hunted by the protagonist a police officer.

The film takes place during the years of World War II, so justice may not be exactly what you'd expect, but what Nazis thought it would be in compliance with their Weltanschauung and ideology. Eliminating the weak was not a problem back then, actually it was necessary. But even with all the political context (that was obviously loved by the allied forces at this point as it showed them Germany was coming to terms with their guilt and elaborating what went wrong exactly) I must say the best part for me was when the film was an apolitical crime thriller, when we have a cop try to catch a dangerous killer when only he sees that thy caught an innocent man. To me personally, this is an example of a quality black-and-white film from Germany way past the silent film era. The acting was good by everybody involved, even if I did not really see Düringer as lead or awards-worthy. I recommend watching this film here, especially if you love the genre or films about this specific political era. Tense from start to finish. Go check it out.

A Different Kind of Nazi Horror

[Eumenides_0 · 9/10 · 22 February 2010]

Robert Siodmak is a director I admire who isn't very famous today. However I enjoyed The Killers so much I didn't hesitate to watch The Devil Strikes At Night. This 1958 thriller, which Siodmak made after returning to Germany from Hollywood, is a fascinating exploration of the political manipulation of justice and the corruption of values in Nazi Germany.

Bruno Luedke, an ordinary handyman doing odd jobs for food, cigarettes and booze, is a serial killer operating for the past eleven years (the movie opens in 1944, which means he began his murder career in 1933, the same year the Nazis rose to power). At the beginning of the movie he kills a woman during an allied bombing and steals her purse. The victim's lover is charged with the murder.

But Commisair Axel Kersten, freshly arrived fro the front, begins investigating the murder and decides that the suspect is innocent; not only that but he quickly traces the murder back to Bruno and connects him with several other cases. It should be noted that this movie isn't CSI: there aren't intense scenes of investigation. Bruno is not a bright person and places himself under the police's attention by his own mistakes. He's captured halfway through the movie.

What makes this stand out is what happens after Bruno is captured. At first the case gets the attention from the SS officer Rossdorf, who hopes that the killer, by being branded as a madman, will allow them to pass a law to enforce eugenics. However the triumph of the capture soon becomes an embarrassment, for how could a murder have been operating for eleven years in the Third Reich without being captured? That's intolerable since it makes the Nazis seem ineffective and weak.

The only solution is to find a scapegoat for the murders, an innocent man to be charged with the recent murder, while the previous ones and Bruno Luedke are forgotten, erased from official history.

Reflecting about this movie I'm reminded of Costa-Gavras' Z. Both follow a decent man trying to ferret out the truth amidst political interference. Even the structure of the story is identical: a crime, an investigation, the illusory triumph of the truth, and then a punch in the viewer's stomach as the truth is torn apart.

Besides dealing with fascinating themes in a sensible way, this movie also deserves credit for the portrayal of Nazis. These are still the '50s and Hollywood continues to portray them as one-dimensional soldiers in the war theater. This movie is perhaps revolutionary for removing the Nazis from the field of battle and showing them at work in urban settings (something mainstream wouldn't do until the '70s), exploring the social-political implications of Nazism.

Axel Kersten, for instance, is a very likable man, concerned with truth and justice, and always in conflict with the SS. Rossdorf, although he's the mastermind behind the hush up, is never portrayed as a one-dimensional sadist or moron, just as a corrupt politician who's concerned with public order. Although not much of their back-story is explored, one feels there's more to them, that they have lives outside the screen.

Claus Holm and Hannes Massemer give good performances and make their characters human and rounded. But the best performance in the movie surely belongs to Mario Adorf, playing the serial killer. Seldom have we seen such an unglamorous portrayal of a serial killer in cinema; he's not the erudite, charming Hannibal Lecter we love, but an ordinary, simple-minded man who acts on horrible impulses and yet retains a childlike innocent that makes his behavior all the more disturbing.

Robert Siodmak may not be considered one of the greatest filmmakers of all times, but for me he's a very good director, who deserves to be rediscovered and enjoyed by viewers from all the world.

Condemning the innocent to cover up miscarriage of justice?

[thursdaysrecords · 9/10 · 27 May 2018]

This Classic film noire combines two main stories: The hunt for a serial killer and the ideologically poisoned mindset of card-carrying Nazis during the end of WWII. For those Germans who were never enthusiastic followers of the extreme nationalist ideas enveloping Germany, the final days of WWII often meant to just "lay low and let it all run past you". But what if the innocent are wrongly condemned to be executed for murder when their innocence becomes unquestioned? Who would defend such a victim of injustice in the face of certain reprisal?

This film introduces Mario Adorf (who deservedly won the award for best newcomer) as Bruno, a dim-witted laborer who wants nothing more than to eat well and drink hard, but seems to be drawn to young women whom he then strangles. When a brilliant detective puzzles together evidence from outstanding murder cases, leading to Bruno, he instantly gains the respect and confidence of the man who turns out to be responsible for some 80 murders. To see the naive Bruno freely confess and cheerfully reenact one of the killings shows how an insane or mentally deficient mind is incapable of grasping the gravity of taking a human life. Now are we to compare Bruno to the countless Nazis who convinced themselves that they were "just following orders" when they participated in genocide? This film is one of many powerful cinematic indictments against the Nazi Regime, and an appeal to the human conscience not ever to idly look on as fellow human beings are wrongly accused, convicted and even murdered by a corrupt and unfair justice system.

Nominee for Best Foreign Film Oscar, which went to Fellini's "Nights of Cabiria" that year. The latter will always be my favorite foreign film, however "Nachts, wenn der Teufel kam" is a formidable contender for the Oscar! Highly recommended!

gripping, true tale of murder and corruption set in crumbling Nazi Germany

[PATtheCHUD · 9/10 · 31 August 2023]

I watched The Devil Strikes at Night after browsing Son of Dracula director Robert Siodmak's IMDB credits and reading the film's extremely interesting synopsis.

In 1994, disillusioned German detective Axel Kersten investigates the identity of a serial killer who possesses the incredible strength of shattering the tiny u-shaped throat bone in his roughly 80 female victims.

Axel initially finds the full support of the Nazis, until the findings of his investigation threaten public perception of Hitler's SS. What could have been a more straightforward movie about a serial killer during Nazi Germany turns into a story about how quickly the lines of culpability can become blurred in such a bleak place as Germany towards the end of World War II. It's a great movie with excellent performances that really holds your attention for its two-hour runtime of reading subtitles.

It blew my mind to learn after watching The Devil Strikes at Night that it's story was loosely based on real-life serial killer Bruno Lüdke who shares his name with the character in the film.

Robert Siodmak mixing two genre, Noir and political issues at Nazi-Germany!!!

[elo-equipamentos · 8/10 · 18 December 2022]

Afterwards I'd watched this picture, on bonus material the Italian actor Mario Adorf spoke about his recollections concerning the productions that reveals some possible disagreement over the veracity of the case occurred on WWII during the Nazi period, starting this point almost majority of the facts really happened, aside some sequence added under the pretext of the dramatization without stir in the real events.

Then the plot took place at Germany in 1944 when the war is closing on behalf of the allied, when a Germany serial killer called Bruno Ludke (Adorf) has been committed many murders on different spots at country, when a former army officer took over as police commissioner Axel Kersten (Claus Holm) delves into the odd case suspecting that the man caught in crime scene couldn't commit a murder due he didn't fits as enough strong hands an unusual throttling applied by the real killer.

When he finally finds Bruno and arresting him to able to extract further strongest elements to ascertaining the truth, during the Bruno's stateman the whole staff of the local police they reach a bottom line that the killer murdered around 80 victims, in the meantime a Gestapo officer following the case carefully under other pretext, in a nutshell hush it up due the possible damage to Nazi party on so-called new Germany that now is in the hands of the Fuher.

The picture has many qualities enforced and approached by the esteemed director Robert Siodmak, also the Noir proposition, fine photograph and embellished by a sharpy dialogue between the Gestapo officer and the Commissaire Axel over the Arian progeny as pure German race, however paradoxically Bruno Ludke belong from this ethnic group!!

Thanks for reading.

Resume:

First watch: 2022 / How many: 1 / Source: DVD / Rating: 8.5.