Stacia Napierkowska
A young intellectual, J. Powers, loses his faith in God after the untimely death of his wife. He devotes his great talents to writing a shockingly blasphemous book, debunking all religion, and then embarks on a trip to Jerusalem. Far from reconciling him to God, the sight of all the different sects worshipping in that ancient city only serves to embitter him and deepen his unbelief. One day, wandering in the country, he loses his way and stops to ask directions at a small house. The inhabitants are a poor but devout family whose daughter, Ruth, revives his broken heart. At the risk of losing her, he confesses to her his loss of faith, and she gently declares that meditation on the Gospels will heal him. He sorrowfully tells her that he wishes he could believe as she does, but it is impossible.
The film presents documents, photos, and pictures of the places where Mihai Eminescu, Veronica Micle, and Ion Creangă lived and the things they experienced.
Psyche, the daughter of a king, and a mortal, is so beautiful that even the God of Fame is fascinated by her charm. He hurries to tell Venus, Goddess of Beauty, that her loveliness is surpassed by a mortal. The jealousy of Venus is aroused and she orders her son, Cupid, the God of Love, to avenge the indignity. One glance at Psyche and Cupid revolts. He beseeches his mother to relent, but Venus is deaf to his pleading and swears to destroy her rival's powers. While joy reigns in the court of Psyche's father, Venus strikes at Psyche by inflicting an illness upon the king. His malady baffles all, and in desperation the queen consults the oracle. The oracle decrees that when Psyche marries a mortal her father will be saved. However, Psyche's husband will be a monster who will devour her.
Max Linder finds himself obsessed with bull fighting. This seems to echo the nature of the actual man, who is reported to have mastered most of the skills that his character attempts within a rapid amount of time; when you see Max challenging a bull or several towards the end of the film, you can be quite confident that it is the real Linder triumphing out on the arena.
Fernand Pradier (Gabriel Signoret) is an honest merchant and a simple person at heart who tries to make her daughter Germaine (Gabrielle Robinne) happy. She is engaged to a rich banker St-Bris (René Alexandre). However, the fiance once belonged to a criminal organization and, despite his efforts of rehabilitation, one of his ancient accomplices makes their engagement impossible. Eventually imprisoned, she escapes with the help of a beautiful typist (Stacia Napierkowska)...
As a struggling artist, Max is not allowed to pay attentions to a girl by her father. Max decides to win by persistency, and it is a case where persistency meets obstinacy to come off victorious. The artist is required to follow the father and daughter through the Alps. He finally gets the old man's promise to give his consent to the marriage in payment for his rescue.
Max, awakening on his wedding morning, discovers that it is close on the hour when he should be at the church. He dresses hastily, and in struggling with a refractory collar, allows his boots to be burnt by the fire. There is no time to change them, and he hastens off to the bride's house. On the way his soles part company with their uppers, and poor Max enters into negotiations with a passing labourer for the purchase of his footgear.
Max relates to Mona, staying for the winter sports in Switzerland, that he killed a magnificent bear on the previous day, but that the dogs ate it, skin and all; but for that, concludes Max, Mona should have had his skin. Mona is sceptical, and insists that Max shall shoot another bear.
Maxime Vermont tries to get a financial help from his father-in-law, to no avail. Deeply indebted, Maxime attempts to kill his father-in-law so that he could make quick money.
Max and his friend, who came to visit him in Paris both fall in love with his new maid. The girl is very friendly, and while one plays the piano, she dances with the other - and they are so happy that even the decor dances at the rhythm.
Esmeralda, a beautiful gypsy street dancer, arouses the desire of men, especially of Claude Frollo, the archdeacon of Notre Dame. The latter asks Quasimodo, the deaf and deformed bell-ringer of the cathedral, to kidnap the girl. Quasimodo, who has been adopted by Frollo and obeys his every word, captures the gypsy but she is saved thanks to Phoebus, a handsome captain, and his archers. Arrested by Phoebus, the hunchback is condemned to be flogged at the pillory. When Esmeralada, moved to pity by his lot, gives him water to drink, Quasimodo falls in love with her. Later, Phoebus is stabbed to death and Esmeralda is wrongly accused of the murder. Sentenced to hang she is saved by Quasimodo who offers her asylum and... the love of his heart...
The fictional rags-to-riches story of a dancer, her benefactor a kind-hearted old piano tutor. Like Max Ophüls, Capellani set many flms in the theatre – backstage, on stage, in the auditorium and the public.
After a quarrel Pedro walks out of the cafe leaving his fiancée (Stacia Napierkowska) alone. Heartbroken, she visits the flower garden and there, flowers metamorphose into women and begin to dance.
A historical short film inspired by the Biblical story of Belshazzar's Feast.
In all the arts the ancient Greeks excelled and their statuary, their music, their poetry, their dances, have remained to subsequent generations a standard to be followed and emulated. Terpsichore was the goddess of the dance, and if we read our mythology aright, taught the poetry of motion to her devotees. To all but a few who have made a study of Hellenic dancing such grace of action, such lithesomeness of body as was essential to the art when Grecian beauties tripped lightly and rhythmically over the green sward, is impossible. Mesdemoiselles Napierkowska and Marly, however, are superb in an exquisitely graceful ballet by Sacha Dezac, entitled "In Ancient Greece." The dance is perfect and the quality of the film is such that it is difficult to believe that the dancers do not themselves appear in the flesh before the eyes of the spectators, instead of being a mere photographic reproduction of their swaying rhythmic movements.
