Berthold Viertel

Rhodes of Africa is a 1936 British biographical film charting the life of Cecil Rhodes. It was directed by Berthold Viertel and starred Walter Huston, Oskar Homolka, Basil Sydney and Bernard Lee.

The tenants of an old London boarding house spend their time in petty bickering and sniping until a mysterious stranger arrives at their door.

A girl becomes an unwilling witness in her parents' scandalous divorce case.

A girl becomes an unwilling witness in her parents' scandalous divorce case.

A woman whose husband never came home from World War I finds herself in love with her doctor. She travels with him to Switzerland, and as they check into the hotel there, she is astounded to see her supposedly dead husband.

A young woman goes undercover to gather evidence to free her boyfriend, an attorney who has been framed for a murder he didn't commit.

A nightclub singer, taking pity on a blind soldier, pretends that she is the woman he once loved before he was wounded.

This is the German-language version of 1929's "The Sacred Flame", from the W. Somerset Maugham play, shot by Warner Bros. in Hollywood with a German-speaking cast.

This is the German-language version of 1929's "The Sacred Flame", from the W. Somerset Maugham play, shot by Warner Bros. in Hollywood with a German-speaking cast.

1931 picture starring Kay Johnson.

A hard-boiled nightclub owner saves a beautiful young girl from drowning. He promptly falls in love with her, but she prefers a younger, more-genteel lover.

Primer film sonoro de Murnau (y último de ficción). Durante su producción y rodaje (en tierras americanas, donde había realizado ya la obra maestra "Sunrise"), surgieron importantes divergencias del director alemán con el dueño de la Fox, William Fox. La más importante fue la imposición de ser un film hablado (Murnau comenzó la película siendo muda), dado el fulgurante éxito del cine sonoro, así como la incapacidad del estudio por conseguir a la estrella Janet Gaynor (protagonista de "Amanecer"). Murnau, desencantado, decidió una vez acabada la película asociarse con el documentalista Robert J. Flaherty, para rodar "Tabu" sin ningún tipo de imposición de los estudios. "El pan nuestro de cada día" está basada en la obra "The Mad Turtle", de Elliott Lester, y narra la historia de un joven de Minnesota que va a Chicago y se enamora.

He was a great Persian Prince. His Harem was filled with seductive beauties. Yet he loved one woman- a woman from another country-wife of another man.

The circus provides the backdrop for this melodrama that chronicles the lives of four children raised within the big top. Film historian and collector William K. Everson stated that the only surviving print was lost by actress Mary Duncan who had borrowed it from Fox Studios. In the December 1974 issue of "Films in Review," he explained that Mary Duncan, one of the film's stars, wanted it to show to a group of friends in Florida. The star was aware that it was a dangerous nitrate print and assumed that Fox had others. She threw the only copy in the ocean, a mistake characterized by Everson as "a monumental blunder to rank with Balaclava, Sarajevo, and the Fall of Babylon as one of history's blackest moments."