Philipp Lothar Mayring
An attempt to mimic the artistic success of Urlaub auf Ehrenwort and zwei in einer großen Stadt though it's neither romantically nor in a patriotic way as involving. Three soldiers on very short home leave visit Berlin. One isn't from there and runs around with his guide book being perplexed by all the things that are different now. Another visits his wife and his baby. And the third enters a romance due to a mistaken identity which at the end provides a tiny bit of drama in a film which otherwise bends over to show how happy the home front is and supportive of its soldiers. Some nice location shooting, but neither story nor stars amount to much.
A big explosion in a pulp mill causes a lot of damage. The police suspect a crime and put up a 5,000 Mark reward for information leading to the arrest of the perpetrator. Egged on by his wife Ursula, the insurance agent Rolf Kettner sees his chance to prove his detective capabilities and to track down the culprit.
The unscrupulous dealer Haslinger has paid off a debt note worth 1000 Mark from the peasant Kreithofer and now wants the man’s farm in return for the debt settlement. Then, suddenly, a rumor pops up that Grandfather Kreithofer is a rich man, who wants to leave his entire estate to his grandchild Lois. Grandpa started the rumor to help his grandson out of the mess, who, as luck would (not) have it, is also in love with Haslinger’s daughter, Ev. But no sooner does Haslinger hear of this rumor, that he wants the old man to move in with him, leave the debt to him and give permission for the kids to marry.
On November 11, 1918, the last day of the First World War , Lieutenant Colonel Klaus Olden desperately tried to hold a lost post with his unit. The rescue appears in the form of pilot Jochen Wendler, who shows up with his plane and drops ammunition. When Jochen's machine is shot down immediately, Klaus manages to pull him out of the wreck at the last second. Both are injured and taken to the hospital , where they are cared for by the attractive nurse Barbara, a childhood friend of Jochen. The two men form a blood brotherhood and drive together with Barbara to East Prussia , where they want to visit relatives of Jochen on their estate . But the relatives' yard was destroyed in the war. The post-war period turns out to be an economic disaster.
The stand-alone opera singer Carmen Casini dare not admit to her adult son, the spoiled race car driver Cecil, that she ruined her voice on a stormy day at the racetrack and that her career is thus at an end. Meanwhile, Cecil has fallen in love with the pretty Colette … without suspecting that her father, the wealthy Bartell, was a former lover of his mother and that he’s Cecil’s daddy. Thus, both Carmen and Bartell try to prevent the unfolding love-relationship between brother and sister, because this ain’t the Ozarks, you know! Only after the unhappy Cecil tries to commit suicide after an argument with his mother do Carmen and Bartell realize they still love one another. Suicide attempt be damned; let’s go out on a date! A movie that screams “Fun for the whole family.”
The story of a beautiful, vivacious gypsy girl and the two doomed men who fall for her.
This Italian-German co-production was released in English-speaking countries as Mother Song. Italian opera favorites Beniamino Gigli and Maria Cebotari star in this tale about the romance between two temperamental singing stars. Highlights include a lengthy selection from Faust, with Gigli making a most impressive Mephistopheles. The plot takes a melodramatic turn towards the climax, with the lives of the characters mirrored in their on-stage behavior. Director Carmine Gallone was something of an expert in the field of filmed opera, as witness his Tosca, Rigoletto and Il Trovatore.
Endstation offers the American viewer tantalizing glimpses of busy, bustling mid-1930s Vienna. Otherwise, this minor yarn of an amorous streetcar conductor is strictly formula material. The film benefits from the star power of Paul Horbiger, resplendently garbed in an elaborate conductor's uniform. Also worth noting is the performance of Maria Andergest as the woebegone hatmaker whose fate is inextricably linked with hero Horbiger. Incidentally though the direction is credited with one E. W. Emo, Paul Horbiger actually called most of the shots on Endstation.
In this Swedish romance, a strapping farm boy is betrothed to a pretty socialite. Unfortunately, he really loves a simple girl from the marsh. His engagement to the wealthy lass is broken after he gets into a barroom brawl. He is then able to marry the woman he really loves.
Count Egge, a “special person” of noble birth, is rather conceited and has given his kids the old heave-ho, because they chose “unsuitable partners: Countess Litty picked the penniless painter Forbeck and Master Tassilo the rather common Anna. During a trip with his peasant lover, the second son of the Count, Willy, has a fatal accident. Kitty followers her painter-bum to Italy. One day, during a dramatic hunting party at the Eagle’s Nest, Count Egge goes blind. These strokes of bad luck as of late turn the self-centered noble into an accessible person and his heart softens. After coming to terms with his kids, he finds inner peace in the bosom of his ancestral seat, shrouded in secrets: Castle Hubertus.
In 1812, during the French period, large parts of Germany are occupied by the troops of Napoleon. Several paramilitary Freikorps units battle the French forces, among them the Black Brunswickers led by the 'Black Duke' Frederick William of Brunswick-Wolfenbüttel. After the War of the Fifth Coalition, the Black Hussars are pursued by Napoleon throughout the country, but frequently take refuge with the noble-minded German people.
A series of stupid coincidences causes the young Munich painter Paul to convert his uncle's castle into a hotel for four weeks. But he can't complain: business is good and he has plenty of guests. For exmple, there's Theo Muller with his revue troupe. For reasons of "sound", Muller calls himself "Miller", which, of course, causes more confusion. His daughter, the beautiful Evelyn, is confused with Mabel Miller, who has come to the hotel on a mission for her filthy rich father ... namely, to estimate the worth of the castle.
When Albers takes his drug-addicted opera star sister Gerda to a sanitarium, they both become targets of slimy dope peddler Peter Lorre, who fears that Gerda will blow the whistle on him. Lorre kidnaps the woman, leading Albers on a frantic chase.
Das Gestohlene Gesicht (The Stolen Face) is an old-fashioned detective yarn given credence by its talented cast. A set of peculiar circumstances force the heroine of the story to assume the identity of another woman. When a murder occurs, the wrong person is held responsible, and it is up to a methodical detective to separate fact from falsehood. Edith Edwards and Fridel Haerlin essay the female leads, doing what they can (and more) with the dialogue they're given.
This sentimental Romberg-Hammerstein operetta was made late in the first cycle of movie musicals, and the glut of product at the time crowded it out at the box office. Which is too bad, because it's an excellent example of its kind -- well-crafted, well-cast, and in handsome two-tone Technicolor.
