Lissy Arna

London 1846. Singer Gloria Vane has a resounding success at the Adelphi Theater. While she throws a brilliant party

Remake of a 1929 German film by the same title about a man and a police dog.

A well scripted and captivating thriller about the owners of a small private bank in Berlin, squeezing money out of honest business firms, causing their bankruptcies, and then trying to smuggle the cash into Switzerland.

A taxi driver, (Piel), finds an odd contraption on the back seat that renders him invisible, but his friend steals the device to rob a bank. An inventive comedy.

Two of Germany's best and busiest directors collaborated on Berge in Flammen (Mountain in Flames). The storyline should be of interest to pro-ecologists, inasmuch as the directors take to task the warmongers of the world for despoiling the natural beauties of the European mountain ranges with their shell-fire. The final outrage occurs during a battle between the Austrians and the Italians in the Dolomites, culminating with the destruction of an entire mountain (hence the film's title). The harrowing images on screen were complemented perfectly by the musical score of Giuseppe Beece. Also known as The Doomed Batallion, Berge in Flammen was filmed in three different languages -- German, English, French -- for a total cost of $150,000.

In this theatrical adaptation, a well meaning eccentric ( a good role for the popular actor later known as S Z Sakall) tries to patch up a rift between his niece and her fiance.

Four battle-weary American soldiers under fire reflect on the women they left behind.

Ahab pursues a whale that chewed off a leg when his brother, vying with him for the hand of a minister's daughter, pushed him overboard. When he has caught the monstrous whale he will then deal with his brother.

This is the German-language version of 1930's "The Way of All Men", shot by Warner Bros. in Hollywood with a German-speaking cast.

This is the German-language version of 1930's "Those Who Dance", shot by Warner Bros. in Hollywood with a German-speaking cast.

Arnold Horn, a young idealistic chemist, discovers a compound that can be used for the production of an effective deadly poisonous gas. Against his will the chemical factory starts production of the poison gas to increase the value of their shares.

This exciting, modern crime story focuses on a young woman, a prisoner who was dressed to steal by her lover, and therefore she was in jail. She would like to see her sweetheart. One night she succeeds in persuading the doctor of the prison who also is a woman, to be released. She finds the man, a waiter in an elegant hotel, behaving as a cynical Don Juan, he was preparing to rob the safe of the hotel and go away with his new lover, a dancer. This dancer suffers a fatal accident.

In a small mine town north of the circle, Torsten lives, working with his sister Eva and comrade Lars, who is engaged to Eva. The town's bat-owner has a daughter, Märta, who, after trying out the big city life, has returned to the village for a while, and begins to flirt openly with Torsten, but also with Lars. Märta hears of an old gold treasure that will be hidden somewhere in the mountains, trying to seduce both of them and seek both friends to find out the treasure. Neither Lars nor Torsten knows the plans or swarms of others, but Eva notices how Märta attracts Lars away from her.

A pre-Depression slice of proletarian life from Weimar Germany, Harbour Drift is unusually interesting for its indifferent pessimism, rejecting even the minor rays of hope which permeate the other low-life ‘street films’ of the period. A sordid tale of poverty and greed set within a quayside milieu of crime and prostitution, the narrative centres on the quest for a sparkling pearl necklace stolen by a beggar under the gaze of a prostitute, who persuades her unemployed friend to steal it back, with tragic consequences. The story unfolds in flashback, without irony or a hint of redemption: life simply goes on. The film is remarkable for the innovative camerawork of Friedl Behn-Grund, which manipulates light and shadow to create a nightmarish atmosphere of fear and premonition.

Else Riedel (Lissy Arna), locked out by her authoritarian father, seeks refuge with her boyfriend Hans. Complications threaten when Hans's roommate Max falls in love with her, but the situation is resolved: the three remain friends, and decide to form a music hall act. They want to ascend, but how? A way out beckons when a theatrical agent named Nevin enters Else’s life. He is played by Hubert von Meyerinck as a slick and oily villain, who oozes refinement; his experience behind bars is waved away with a silk scarf. He is cunning to the point of perfidiousness, but is not completely unsympathetic. He also embodies a new type - the scrounger.

Die elf Teufel / The Eleven Devils was made in Berlin in the summer of 1927, in the last throes of the silent movie era. But Die elf Teufel strikes one today as a prophetic film. One of its early captions is "Football, the sport of the century ". We are shown a ball bathed in light like some sacred relic, and observe how, even in those early days, fans on the terraces wouldn't shy away from using their fists.

"Girls for Sale!" - White slavers lure young girls to Rio de Janeiro by promising them jobs as showgirls and nightclub singers, then force them into prostitution.

In 1807 Prussia, Napoleon supporter Baron von Schranden forces his maid Regine to lead the French enemy across “Cat’s Bridge”, up behind a corps of Prussian volunteers who the French then decimate. In retaliation for this betrayal, the people of Schranden set the lord’s castle on fire. When the baron’s son Boleslav returns to the village a Prussian war hero in 1813, he is faced with a self-righteous village community that has denied his late father a decent burial. Regine is Boleslav’s only ally, and Boleslav is Regine’s only ally. The conflict escalates, and the villagers set up an ambush for him at Cat’s Bridge …

Silent film social drama