The release of Adventure Calls! Karl May at CCC marks a significant milestone for North American fans of European cult cinema. For decades, the massive popularity of Karl May in Germany was something of a mystery to American audiences, but this collection from the Masters of Cinema series finally provides a definitive look at the lavish, globe-trotting spectacles produced by Artur Brauner. These films represent a bridge between the classic Hollywood adventures of the fifties and the more gritty, violent landscapes of the Spaghetti Western, offering a brand of escapism that is as visually stunning as it is historically fascinating. Karl May was a man who famously wrote about worlds he had never visited, yet his ability to capture the spirit of adventure made him a literary titan. Brauner’s CCC Film took that literary spirit and translated it into a cinematic language that dominated European box offices throughout the sixties.
Old Shatterhand and Winnetou and Shatterhand in the Valley of Death
The foundation of the Karl May mythos rests on the brotherhood between the German frontiersman Old Shatterhand and the Apache chief Winnetou. In the first of these two features, Lex Barker brings a stoic, athletic grace to Shatterhand as he attempts to thwart a conspiracy designed to ignite a full scale war between settlers and the indigenous tribes. Barker, formerly of Tarzan fame, finds his perfect second act here, embodying a version of the American West that is both familiar and strangely European in its idealism. The scale is impressive, using the rugged Yugoslavian landscapes to stand in for the American West with surprising effectiveness. The karst mountains and wide plains of the Balkans provide a jagged, breathtaking backdrop that feels more grand than many of the backlots being used in Hollywood at the time.
In the Valley of Death, directed by the legendary Harald Reinl, the duo returns to clear a captain's name and track down a missing gold shipment. Reinl was the architect of the Winnetou style, and his eye for panoramic vistas is on full display. The film moves with a rhythmic energy, balancing quiet moments of friendship with explosive action set pieces. There is a specific nobility to the relationship between Shatterhand and Winnetou that transcends the usual tropes of the genre. They are not merely partners; they are symbols of a cross cultural peace that May’s readers found deeply moving. Both films benefit from a high degree of technical polish and a sense of earnest heroism that feels refreshingly sincere. The 4K restorations allow the vibrant colors of the Apache costumes and the deep blues of the sky to pop with a clarity that has been missing from previous home video iterations.
The narrative of In the Valley of Death is particularly tight, focusing on a quest for justice that feels deeply personal. The gold shipment is almost a MacGuffin, a reason to get our heroes back in the saddle and moving through the dangerous terrain. What matters more is the chemistry between Barker and Pierre Brice, who plays Winnetou with a stoic dignity that would define the character for generations. Their interactions are characterized by a mutual respect that serves as the emotional anchor for the entire series. By the time the final credits roll on this duo’s adventures in this set, you understand why audiences were so captivated by this idealized version of the frontier.
The Shoot, Through Wild Kurdistan, and In the Kingdom of the Silver Lion
Shifting the setting from the American frontier to the Ottoman Empire, this trilogy follows the adventurer Kara Ben Nemsi. Also played by Lex Barker, Nemsi is essentially the same heroic archetype relocated to the Balkans and the Middle East. This transition highlights May’s versatility as a storyteller and Barker’s ability to carry a franchise regardless of the geography. The Shoot establishes a fast paced hunt for a mysterious outlaw known as the Schut, who has been terrorizing the countryside. This film moves away from the sweeping plains of the West and into the winding mountain paths and ancient villages of the East, creating a sense of mystery and danger that feels entirely distinct from the Winnetou films.
The subsequent chapters, Through Wild Kurdistan and In the Kingdom of the Silver Lion, expand into a massive, interconnected narrative involving tribal warfare, religious zealotry, and ancient secrets. These films lean heavily into the "exotic" adventure tropes of the era, filled with vibrant costumes and massive exterior sets. Nemsi is accompanied by his faithful servant Hadschi Halef Omar, played by Ralf Wolter, who provides a lighter, more comedic counterpoint to Barker’s straight-laced hero. Their dynamic is the engine that drives these films through their more labyrinthine plot points. The Kurdistan segments are particularly notable for their grand scale, featuring large scale battles and intricate political maneuvering between various local leaders.
In the Kingdom of the Silver Lion serves as a grand conclusion to this arc, raising the stakes and bringing the various subplots to a head. The 4K restorations are particularly helpful here, bringing out the rich colors of the Middle Eastern inspired locations and the intricate detail of the period production design. The way the light hits the ancient stone structures and the shimmering fabrics of the costumes gives the films a tactile quality that enhances the escapism. These are not gritty, realistic depictions of the Ottoman Empire, but rather a romanticized, pulp version of history that prioritizes excitement and visual splendor above all else. The films capture a sense of wonder that was a hallmark of 1960s adventure cinema, where the world still felt vast and full of hidden corners waiting to be explored by a brave man on horseback.
The Treasure of the Aztecs and The Pyramid of the Sun God
Directed by Robert Siodmak, these two films take the action to Mexico during the mid nineteenth century. Barker appears here as Dr. Karl Sternau, a man caught between political intrigue and the search for hidden Aztec riches. Siodmak, a director known for his noir sensibilities in Hollywood masterpieces like The Killers, brings a more disciplined eye to the proceedings. He balances the treasure hunting action with the broader historical backdrop of the French intervention in Mexico and the rise of Benito Juarez. This grounded historical context gives these two films a weight that the more fantasy oriented Kurdistan trilogy lacks.
The sense of scale remains enormous, with the story moving from the halls of power to the depths of ancient temples. The Treasure of the Aztecs is a masterful exercise in tension, as Sternau navigates a landscape filled with spies, revolutionaries, and greedy bandits. Barker’s performance as Sternau is slightly more intellectual than his turn as Shatterhand, reflecting the character’s background as a physician and diplomat. The Pyramid of the Sun God continues the journey, leading the characters into the heart of the jungle in search of the legendary gold. Siodmak utilizes the shadows and the jagged terrain to create a sense of impending doom that mirrors his work in the suspense genre.
The production design in these Mexican adventures is nothing short of spectacular. The recreation of Aztec ruins and the period accurate costumes of the Mexican army and revolutionaries show where the budget was being spent. These films were clearly intended to compete with the American epics of the day, and in many ways, they succeed in providing a more kinetic and colorful alternative. The Mexican setting also allows for a more complex set of antagonists, with the French occupiers and their local collaborators providing a multifaceted threat for Sternau to overcome. These two films represent a peak in the Karl May cycle, where the direction, acting, and production value all aligned to create something truly memorable.
The Legacy of CCC and Karl May
What makes this collection so vital is the way it showcases Artur Brauner’s ambition. Brauner understood that to keep audiences interested, he needed to provide more than just simple stories; he needed to provide experiences. By hiring top tier directors like Robert Siodmak and Hugo Fregonese, he ensured that these films had a professional sheen that elevated them above typical B-movie fare. These films were massive undertakings, often involving international casts and crew members traveling to remote locations to capture the perfect shot. The legacy of these Karl May adaptations is evident in the Spaghetti Westerns that would follow, which often utilized the same Yugoslavian locations and shared a similar interest in the mythic power of the lone hero.
Furthermore, the films provide a window into a specific cultural moment in Germany. During the sixties, these adventures offered a way for audiences to reconnect with a literary tradition that was untainted by the traumas of the mid-twentieth century. Karl May represented a world of clear moral boundaries and grand adventures, a stark contrast to the complexities of the Cold War era. For Lex Barker, these films were a career defining achievement, cementing his status as one of the most beloved stars in European history. This collection allows us to see Barker at the height of his powers, moving seamlessly between the different iterations of the May hero with a consistent sense of integrity and physical prowess.
Technical Presentation and Supplemental Material
Eureka has outdone itself with the physical presentation of this set. The decision to source these from brand new 4K restorations by CCC Film pays dividends in every frame, as the grain structure and color timing feel remarkably natural. In films of this age, particularly those shot on location, there is often a risk of the image looking washed out or overly soft, but these transfers maintain a high level of detail even in the wide landscape shots. The audio is equally impressive, preserving the bombastic scores and the crisp dialogue that are so essential to the adventure film experience. Seeing these films in this quality is like seeing them for the first time, as the limitations of previous home video releases are completely swept away.
Beyond the visual fidelity, the inclusion of a sixty page book and a hardbound slipcase makes this feel like a true archival release. The book provides essential context for May’s life and the production of the films, helping North American viewers understand why these stories remain so influential. The limited edition nature of the set, with only 2,000 copies available, underscores its importance as a collector’s item. It is a specialized release, to be sure, but one that is essential to the library of any viewer interested in the evolution of the adventure genre, the history of German popular cinema, and the enduring power of a well told tale. Whether you are a longtime fan of Lex Barker or a newcomer to the world of Karl May, Adventure Calls! is a journey worth taking.
Adventure Calls! is now available to own! If you order from MVD you can save 30% off the retail price
Comments