The Counterfeit Traitor is a 1962 war film starring William Holden, Hugh Griffith, and Lilli Palmer. Holden plays an American-born Swedish citizen who agrees to spy on the Nazis in World War II. It was based on a nonfiction book of the same name by Alexander Klein. The film was directed by George Seaton. Ingrid Van Bergen is a red leather clad dominatrix/resistance fighter with amazing boots._IMDB

Ingrid van Bergen’s Dominatrix Moment

Meet Ingrid van Bergen as Hulda Windler, a resistance fighter with a provocative cover: a dominatrix who advertises her “stern services” from an open window in Hamburg. In a brief but electrifying scene, Hulda’s red leather outfit, complete with knee-high stiletto boots, gloves, and a riding crop, steals the show. The setting: her room adorned with BDSM art, amplifies the fetishistic vibe, making this a daring inclusion for a 1960s mainstream film. While her role is small, van Bergen’s commanding presence and striking costume leave a lasting impression, hinting at the power dynamics of dominance and submission amidst the chaos of war.
This scene, though short, is a bold nod to leather fetishism, a subculture that was gaining visibility in the post-war era. As noted in cultural discussions of the time, leather garments were increasingly associated with eroticism and rebellion, particularly in urban centers like Hamburg, where the film’s scene is set. The choice of red leather vibrant, sensual, and authoritative elevates Hulda’s character beyond a mere plot device, making her a symbol of defiance and allure.

Why It Works

The inclusion of fetish elements in The Counterfeit Traitor is a masterstroke of subtlety and context. In 1962, mainstream audiences might not have fully grasped the implications of Hulda’s attire, but for those in the know, the scene was a thrilling acknowledgment of BDSM aesthetics. The contrast between the film’s grim wartime narrative and this splash of eroticism creates a tension that mirrors the story’s themes of deception and hidden identities. Van Bergen’s character, posing as a dominatrix to aid the resistance, embodies the duality of power and secrecy, making her red leather boots and crop not just costume choices but narrative tools.

The Italian poster for the film, which emphasizes Hulda’s provocative look far more than its American counterpart, further underscores the scene’s impact. It’s a reminder that international audiences were ready to embrace the film’s kinkier undertones, even if American marketing played it safer.

Fetish in Mainstream Cinema: A Broader Trend

The Counterfeit Traitor is part of a broader tradition of mainstream films weaving in fetish elements, often under the guise of character or plot development. From Kim Basinger’s sultry submission in 9½ Weeks (1986) to Bulle Ogier’s dominatrix in Maîtresse (1976), filmmakers have long used BDSM imagery to explore power, desire, and rebellion. These moments, whether subtle or overt, challenge societal norms and invite viewers to confront their own curiosities. In the 1960s, when The Counterfeit Traitor was released, such inclusions were especially bold, given the era’s stricter censorship and conservative audiences.

This particular scene is a treasure, a rare instance where a mainstream war film embraces fetish culture without judgment or caricature. Ingrid van Bergen’s Hulda Windler is not a villain or a stereotype; she’s a complex figure whose dominatrix persona serves a greater cause. Her red leather ensemble, with its glossy boots and commanding accessories, is a celebration of leather’s erotic power, rooted in the real-world leather subculture that was thriving in cities like Hamburg by the 1960s.

This moment also highlights the artistry of costume design in conveying character. The choice of red leather, bold, unapologetic and sensual, speaks to the confidence and control of van Bergen’s character, while the BDSM art on her walls adds depth to the scene’s world-building. It’s a snapshot of fetish culture that feels authentic, not exploitative, making it a must-see for enthusiasts and cinephiles alike.