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A shrine to the victims of the Hinterkaifeck murders
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The Chilling Story of the Hinterkaifeck Killings, Germany's Most Famous Unsolved Crime

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A shrine to the victims of the Hinterkaifeck murders
Wikimedia // Copyrighted free use

The Hinterkaifeck farmstead was a lonesome place. Located near the woods outside the Bavarian town of Gröbern, about an hour's drive from Munich and a half-mile behind, or "hinter," the town of Kaifeck, it was the home of 35-year-old Viktoria Gabriel and her two children, 7-year-old Cäzilia and 2-year-old Josef, as well as her elderly parents Andreas and Cäzilia Gruber.

The family was known for keeping to themselves. Still, neighbors grew concerned on April 1, 1922, when young Cäzilia missed school and the entire family failed to show up to the church where Viktoria was a member of the choir. Cäzilia missed school again on April 3, and by then, mail for the family had begun to pile up at the local post office. On April 4, the family's neighbors decided to investigate. Lorenz Schlittenbauer, a farmer who lived nearby, led the search party.

What they discovered likely haunted them for the rest of their days.

In the barn, the search party found four brutally battered bodies covered with hay. Inside the house, they discovered the bodies of 2-year-old Josef and the maid, Maria Baumgartner. It had been Baumgartner's first day on the job—the previous maid had abandoned her position due to a fervent belief that the house and farm were haunted.

Nearly 100 years later, dozens of people have been arrested as suspects in the crimes, though no one has ever been found guilty. The Hinterkaifeck murders remain one of Germany’s eeriest—and most famous—unsolved crimes.

FOOTSTEPS IN THE SNOW

The reports from the family's autopsies, conducted by court physician Dr. Johann Baptist Aumüller, paint a horrifying picture of their injuries. The elder Cäzilia showed signs of strangulation and seven blows to the head, which left her with a cracked skull. The face of her husband, Andreas, was caked with blood, and his cheek bones protruded from shredded flesh. Viktoria’s skull was also smashed; her head showed nine “star-shaped” wounds and the right side of her face had been hit with a blunt object. The younger Cäzilia's lower jaw had been shattered and her face and neck covered in gaping, circular wounds.

While the elder Cäzilia, Andreas, and Viktoria likely died instantly from expertly delivered blows from a mattock—a pickax-like tool used for digging and chopping—the autopsy found that the younger Cäzilia likely remained alive and in shock for several hours after her attack. She had ripped her own hair out in clumps.

Inside the farmhouse, little Josef and the maid Maria Baumgartner had met a similar fate. Maria was killed by crosswise blows to the head in her chambers, and Josef by a heavy blow to the face in his cot in Viktoria’s room. Like the bodies in the barn, theirs were also covered: Maria’s with her sheets, and Josef’s with one of his mother’s dresses. The farm animals and a Pomeranian watchdog remained unharmed. Chillingly, they had even been taken care of and fed in the several days that passed between the murders and their terrible discovery.

Police initially suspected vagrants or other traveling men of ill-repute, but tossed out this theory after large sums of money were found within the house. Besides the bodies and the hay and bedsheets used to cover them, nothing had been disturbed—though the killer clearly remained at the farm for several days, feeding the animals, eating meals, and lighting fires in the hearth. When the police questioned the former maid about her belief that the property was haunted, she said she had come to that conclusion after constantly hearing sounds in the attic and experiencing an unsettling feeling of being watched.

Though Andreas did not believe her, he too had confided in neighbors about some strange happenings in the days before the murder: A newspaper he did not buy was found in his home, and a set of footsteps was discovered leading from the forest to the farmstead. The footsteps were set in pristine and unmarked snow, leading in only one direction. Nobody at Hinterkaifeck knew whom they belonged to.

To make matters even stranger, one of the family’s two keys disappeared shortly before the murder. Combined with the footsteps from the woods, sounds in the attic, and a smoking chimney in the days following the crime, these odd details paint a horrifying picture of a ruthless intruder who may have taken up residence in the house.

PRIVATE MYSTERIES

A black-and-white photo of the Hinterkaifeck farm a few days after the murders
The Hinterkaifeck farm a few days after the murders
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Suspicion eventually settled on several men connected to the family, in part because of some domestic turbulence at the farm.

Viktoria was a widow whose husband had died in WWI, and the parentage of her son Josef remains a mystery to this day. She had had a relationship with Lorenz Schlittenbauer—the man who had led the search party that discovered the bodies—and both had publicly referred to Josef as their child. They planned to get married—until Andreas interfered, and their relationship ended. Lorenz eventually married someone else; though he and his wife welcomed a baby, it tragically died a few weeks later.

Police zeroed in on Lorenz as a suspect. They theorized that—traumatized by the death of his baby and unwilling to pay child support for Josef—he had come to the farm (located only a few hundred yards from his own) and murdered Viktoria and her family. The theory was bolstered by the fact that those with him during the initial investigation had found his behavior suspicious; they said that he acted nonchalant, viewing and handling the bodies without signs of repulsion. He also knew his way around the farm.

The police questioned Lorenz extensively, but were unable to conclusively place him at the crime scene. His behavior could be explained by shock, they reasoned, and his knowledge of the farm by his relationship with Viktoria.

With Lorenz eliminated, police considered Viktoria’s husband, Karl Gabriel, a suspect, theorizing that he came back from the war and killed them. That theory didn't last long: They soon discovered that Karl had been reported slain in France almost a decade before, with many of his fellow soldiers attesting to seeing his body.

Another theory floated at the time was that Josef was actually the child of Viktoria and her own father, Andreas, and that one of them had killed the entire family before turning the mattock on themselves. Andreas's proclivities for incest and abuse were frequently discussed in the neighboring town; supposedly, Andreas had had other children with Cäzilia besides Viktoria, but she was the only one to survive his violent hands into adulthood. But none of the injuries to the bodies could be explained as self-inflicted, so it wasn't possible that the crimes were a murder-suicide perpetrated by Viktoria or Andreas.

The murderer had to be someone who didn't live at the farm. But who?

Only one thing could be stated with any degree of certainty: The crimes had been committed by someone who knew their way around a farm, as evidenced by the continued upkeep after the murders and by the expert wielding of the mattock. The brutality of the murders suggested that they had been committed by someone with a personal vendetta against one or several of the Grubers.

But police at the time failed to come up with answers and eventually closed the case—though it would not remain closed.

SILENT SKULLS

The Hinterkaifeck case has been reopened several times in the last 95 years. Even clairvoyants have been given a chance at it—in his book Hinterkaifeck: Spuren eines mysteriösen Verbrechens, author Peter Leuschner details how the bodies of the Gruber family and the maid were beheaded not long after the original autopsies and the skulls sent on to Munich, where they were examined for metaphysical clues. Sadly, the skulls did not speak.

In 1923, the farm was demolished, and the family lays buried—without their heads—in a plot in Waidhofen; the skulls were lost during WWII and never returned. Initial evidence gathered at the crime scene is either also lost or too ancient to give up any secrets, though in 2007 the Fürstenfeldbruck Police Academy took the Hinterkaifeck Murders on as a cold case. Because of the relatively basic forensic techniques employed during the original investigation, as well as missing evidence and the later deaths of some suspects, they were unable to conclusively identify the murderer—though they did all agree on a theory.

Out of respect for surviving family members of people related to the crime, however, that theory remains a secret. At this point, it seems unlikely the public will ever know who committed the murders, or why. Whatever secrets the Gruber family kept in life and death, they now slumber alongside them in the grave.

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A shrine to the victims of the Hinterkaifeck murders
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entertainment
10 Hush-Hush Facts About L.A. Confidential
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On this day 20 years ago, a rising star director, a writer who thought he’d never get the gig, and a remarkable cast got together to make a film about the corrupt underbelly of 1950s Los Angeles, and the men and women who littered its landscape. This was L.A. Confidential, a film so complex that its creator (legendary crime writer James Ellroy) thought it was “unadaptable.” In the end, it was one of the most acclaimed movies of the 1990s, a film noir classic that made its leading actors into even bigger stars, and which remains an instantly watchable masterpiece to this day. Here are 10 facts about how it got made.

1. THE SCRIPTING PROCESS WAS TOUGH.

Writer-director Curtis Hanson had been a longtime James Ellroy fan when he finally read L.A. Confidential, and the characters in that particular Ellroy novel really spoke to him, so he began working on a script. Meanwhile, Brian Helgeland—originally contracted to write an unproduced Viking film for Warner Bros.—was also a huge Ellroy fan, and lobbied hard for the studio to give him the scripting job. When he learned that Hanson already had it, the two met, and bonded over their mutual admiration of Ellroy’s prose. Their passion for the material was clear, but it took two years to get the script done, with a number of obstacles.

"He would turn down other jobs; I would be doing drafts for free,” Helgeland said. “Whenever there was a day when I didn't want to get up anymore, Curtis tipped the bed and rolled me out on the floor."

2. IT WAS ORIGINALLY INTENDED AS A MINISERIES.

When executive producer David Wolper first read Ellroy’s novel, he saw the dense, complex story as the perfect fodder for a television miniseries, and was promptly turned down by all the major networks at the time.

3. JAMES ELLROY DIDN’T THINK THE BOOK COULD BE ADAPTED.

Though Wolper was intrigued by the idea of telling the story onscreen, Ellroy and his agent laughed at the thought. The author felt his massive book would never fit on any screen.

“It was big, it was bad, it was bereft of sympathetic characters,” Ellroy said. “It was unconstrainable, uncontainable, and unadaptable.”

4. CURTIS HANSON SOLD THE FILM WITH CLASSIC LOS ANGELES IMAGES.

To get the film made, Hanson had to convince New Regency Pictures head Arnon Milchan that it was worth producing. To do this, he essentially put together a collage of classic Los Angeles imagery, from memorable locations to movie stars, including the famous image of Robert Mitchum leaving jail after his arrest for using marijuana.

"Now you've seen the image of L.A. that was sold to get everybody to come here. Let's peel back the image and see where our characters live,” Hanson said.

Milchan was sold.

5. KEVIN SPACEY WAS ON HANSON’S WISH LIST FOR YEARS.

Though the other stars of the film were largely discoveries of the moment, Kevin Spacey was apparently someone Hanson wanted to work with for years. Spacey described Hanson as a director “who’d been trying for years and years and years to get me cast in films he made, and the studio always rejected me.” After Spacey won an Oscar for The Usual Suspects, Hanson called the actor and said, “I think I’ve got the role, and I think they’re not gonna say no this time.”

6. SPACEY’S CHARACTER IS BASED ON DEAN MARTIN.

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Though he cast relative unknowns in Russell Crowe and Guy Pearce, Hanson wanted an American movie star for the role of Jack Vincennes, and decided on Kevin Spacey. In an effort to convince Spacey to take the role, Hanson invited him to dine at L.A.’s famous Formosa Cafe (where scenes in the film are actually set). While at the cafe, Spacey asked a vital question:

“If it was really 1952, and you were really making this movie, who would you cast as Jack Vincennes?” Hanson said “Dean Martin.”

At that point, Spacey looked up at the gallery of movie star photos which line the cafe, and realized Martin’s photo was right above him.

“To this day, I don’t know whether he sat us in that booth on purpose, but there was Dino looking down at me,” Spacey said.

After his meeting with Hanson, Spacey watched Martin’s performances in Some Came Running (1958) and Rio Bravo (1959), and realized that both films featured characters who mask vulnerability with a layer of cool. That was the genesis of Jack Vincennes.

7. HANSON CHOSE MUCH OF THE MUSIC BEFORE FILMING.

To help set the tone for his period drama, Hanson began selecting music of the early 1950s even before filming began, so he could play it on set as the actors went to work. Among his most interesting choices: When Jack Vincennes sits in a bar, staring at the money he’s just been bribed with, Dean Martin’s “Powder Your Face With Sunshine (Smile! Smile! Smile!)” plays, a reference to both the character’s melancholy, and to Spacey and Hanson’s decision to base the character on Martin.

8. THE CINEMATOGRAPHY WAS INSPIRED BY ROBERT FRANK PHOTOGRAPHS.

To emphasize realism and period accuracy, cinematographer Dante Spinotti thought less about the moving image, and more about still photographs. In particular, he used photographer Robert Frank’s 1958 collection "The Americans" as a tool, and relied less on artificial light and more on environmental light sources like desk lamps.

"I tried to compose shots as if I were using a still camera,” Spinotti said. “I was constantly asking myself, 'Where would I be if I were holding a Leica?' This is one reason I suggested shooting in the Super 35 widescreen format; I wanted to use spherical lenses, which for me have a look and feel similar to still-photo work.”

9. THE FINAL STORY TWIST IS NOT IN THE BOOK.

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[SPOILER ALERT] In the film, Jack Vincennes, Ed Exley, and Bud White are all chasing a mysterious crime lord known as “Rollo Tomasi,” who turns out to be their own LAPD colleague, Dudley Smith (James Cromwell). Though Vincennes, Exley, and White are all native to Ellroy’s novel, the Tomasi name is entirely an invention of the film.

10. ELLROY APPROVED OF THE MOVIE.

To adapt L.A. Confidential for the screen, Hanson and Helgeland condensed Ellroy’s original novel, boiling the story down to a three-person narrative and ditching other subplots so they could get to the heart of the three cops at the center of the movie. Ellroy, in the end, was pleased with their choices.

“They preserved the basic integrity of the book and its main theme, which is that everything in Los Angeles during this era of boosterism and yahooism was two-sided and two-faced and put out for cosmetic purposes,” Ellroy said. “The script is very much about the [characters'] evolution as men and their lives of duress. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny. I've long held that hard-boiled crime fiction is the history of bad white men doing bad things in the name of authority. They stated that case plain.”

Additional Sources:
Inside the Actors Studio: Kevin Spacey (2000)

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Pop Culture
The Time a Wrestling Fan Tried to Shoot Bobby Heenan in the Ring
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For a man who didn't wrestle much, Bobby “The Brain” Heenan wound up becoming more famous than a lot of the men flexing in the squared circle. The onscreen manager of several notable grapplers, including André the Giant and “Ravishing” Rick Rude, Heenan died on Sunday at the age of 73. His passing has led to several tributes recalling his memorable moments, from dressing up in a weasel suit to hosting a short-lived talk show on TNT.

While Heenan’s “heel” persona was considered great entertainment, there was a night back in 1975 when he did his job a little too well. As a result, an irate fan tried to assassinate him in the ring.

According to the Chicago Tribune, Heenan was appearing at the International Amphitheater in Chicago as part of the now-defunct AWA wrestling promotion when his performance began to grate on the nerves of an unnamed attendee seated on the floor. Eyewitnesses described the man as friendly up until wrestlers Verne Gagne and Nick Bockwinkel started their bout with Heenan at ringside in Bockwinkel’s corner.

“Get Heenan out of there,” the fan screamed, possibly concerned his character would interfere in a fair contest. Heenan, known as “Pretty Boy” at the time, began to distract the referee, awarding an advantage to his wrestler. When the official began waving his arms to signal Heenan to stop interrupting, the fan apparently took it as the match being over and awarded in Bockwinkel’s favor. He drew a gun and began firing.

The man got off two shots, hitting three bystanders with one bullet and two more with the other before running out of the arena. (No fatalities were reported.) Security swarmed the scene, getting medical attention for the injured and escorting both Heenan and the wrestlers to the back.

According to Heenan, the shooter was never identified by anyone, and he was brazen enough to continue attending wrestling cards at the arena. ("Chicago really took that 'no snitching' thing to heart back then," according to Uproxx.)

Heenan went on to spend another 30 years in the business getting yelled at and hit with chairs, but was never again forced to dodge a bullet.

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