Hans H. Zerlett

In the antique shop J.M. Mauritius, there’s astonishment when a young, beautiful woman, Gabriele Euler, inquires about an old fortress crest, which can be seen in the background on an old tapestry --- it’s, in fact, the same crest engraved on an old, silver jar belonging to Gabriele: a family heirloom. She discovers, that the crest is the landmark for Burg Uhlenfels. Determined to find out more about her allegedly noble roots, Gabriele takes off to explore Castle Uhlenfels … unaware it’s haunted.

It’s 1910 and we’re in the duchy of Lauffenburg. Everybody is celebrating the 600th birthday of the local hero, Otto the Ironman, who in his time saved the duchy from annexation and beat the enemy so badly, that he fled ... well, that’s what it says in the history books, at least. Local gossip asserts, however, that Otto wasn’t even part of the battle and was spending his time having fun with a pretty girl. When one day a piece is introduced at the court theatre, which tells the heroic story of Otto, the director rejects the mediocre story.

It’s 1910 and we’re in the duchy of Lauffenburg. Everybody is celebrating the 600th birthday of the local hero, Otto the Ironman, who in his time saved the duchy from annexation and beat the enemy so badly, that he fled ... well, that’s what it says in the history books, at least. Local gossip asserts, however, that Otto wasn’t even part of the battle and was spending his time having fun with a pretty girl. When one day a piece is introduced at the court theatre, which tells the heroic story of Otto, the director rejects the mediocre story.

A sculptor, an enemy of modern art, sets an example. He sculpts a statue of Venus in the style of the Greek antiquity and buries it in a forest. When it's dug up in 1930, it's considered to be a 2 000 year old, antique statue.

A sculptor, an enemy of modern art, sets an example. He sculpts a statue of Venus in the style of the Greek antiquity and buries it in a forest. When it's dug up in 1930, it's considered to be a 2 000 year old, antique statue.

After the two vagabonds Robert and Bertram flee from prison, they get to know the innkeeper’s daughter Lenchen at the “Silver Swan” Inn. Because her father is in desperate need of money, Lenchen is to marry the creditor Biedermeier instead of her beloved military recruit Michel. In order to prevent that, Robert and Bertram travel to the capital and, under false names, manage to make their way into the house of the Jewish commercial advisor Ipelmeyer, to whom Biedermeier is deep in debt. During an evening costume ball, the bums steal the family jewels and give them to Lenchen’s father. Lenchen and Michael get married and Robert and Bertram flee in a balloon into the sky.

Charming Tom is pursuing fine Olivia both cheerfully and stubbornly. At first, she rejects him brutally; but then she finds pleasure in this intrusive guy, who’s following her everywhere. They spend an evening together; but afterwards, Olivia determines, that a valuable bracelet has been stolen from her. Now she thinks Tom is the infamous jewel thief, who’s been terrorizing the neighborhood.

Charming Tom is pursuing fine Olivia both cheerfully and stubbornly. At first, she rejects him brutally; but then she finds pleasure in this intrusive guy, who’s following her everywhere. They spend an evening together; but afterwards, Olivia determines, that a valuable bracelet has been stolen from her. Now she thinks Tom is the infamous jewel thief, who’s been terrorizing the neighborhood.

German all-star musical from 1938 that was a big commercial success.

German all-star musical from 1938 that was a big commercial success.

The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!

Известный канатаходец Трукса пьёт в баре Artisan в Нью-Йорке. Когда он встречает молодого человека Хусена, то дает ему своё сценическое имя Трукса. Он должен занять место настоящего Трукса на цирковом шоу в Винтергартене, Берлин.

Известный канатаходец Трукса пьёт в баре Artisan в Нью-Йорке. Когда он встречает молодого человека Хусена, то дает ему своё сценическое имя Трукса. Он должен занять место настоящего Трукса на цирковом шоу в Винтергартене, Берлин.

The double standards of a social class, which pontificates with big words what is proper and improper in the world of morality, while in its heart thinks very differently and acts accordingly.

Ruritanian power struggle with opera singing.

A customer (Karl Valentin) tries to buy a record in a record store but can not decide what he actually wants. The saleswoman (Liesl Karlstadt) tries to help him – which is in vain, as the customer eventually damages various records and even a complete cabinet during his visit.

A film actress falls for an extra on her set, he turns out to be a prince.

Young French student Madeleine Duchanel wants to go to the theater and therefore pulls out of the well-protected environment of her school. In Paris she hopes to make a career, but in her naivety she ends up on the street.

In this fast-moving fantasy, an unsophisticated student escapes from a boarding school to become, after many trials and tribulations, the "toast of Paris."

The daughter of the Parisian countess Lafitte, named "Baby", is supposed to go to an English boarding school, but she's much more interested in variety shows. Nevertheless, she travels with her friend Susette to London, who also wants to make a career for herself as a showgirl. During the journey, Baby is mistakenly considered to be a showgirl and she does nothing to dissuade two young English lords from believing so. The girls continue to live under false pretenses even when they arrive in England, with Baby being a soloist with the group "Babies" and Suzette passing herself off as the Contessa Lafitte for school exams. At the end -- a double marriage.

Professor Bock is to inaugurate the museum, the construction of which was donated by a generous patron who remains anonymous. He learns that it is his brother's wife, a former dancer, and whom he hates. But her daughter falls in love with Jim, the son of the ex-dancer, and everything will work out.

When his wife storms out of a dinner planned for his American boss (because their dog is not allowed at the table) an engineer substitutes his secretary and pretends she is the wife

Film by Karel Lamac.

A concert pianist, the romantic idol of many women, is seduced away from his wife. The seductress's husband takes in the pianist's wife, and all four pretend to be happy with the new arrangement.

Weimar era screwball comedy about a floor model who is required to go out evenings to escort VIPs while her boyfriend has to wait at home.

Gustav Froehlich and Charlotte Susa play Rochus and Judith, the zwei menschen (two humans) of the title. Rochus' domineering mother insists that he enter the priesthood, but he is reluctant to break up his blissful romance with the fair Judith. A religious fanatic of the first order, the mother swears before God and her Church that Rochus will indeed take his vows. When this does not come about, she dies of grief, whereupon the guilt-stricken Rochus abandons Judith to become a priest. The girl subsequently commits suicide -- and it is Rochus who must officiate over her body during the funeral. This final scene was excised from the print of Zwei Menschen released in New York, leaving audiences hanging in regard to Judith's ultimate fate.

During lunch break at the movie studio, the extras rush to the canteen Hans Adalbert Schlettow, Maria Paudler and Luis Trenker are chatting. Eva von Loe a beautiful young extra rushes past; she is looking for her fiancé, Paul Wessel, who is also an extra. She has to return to the set where the famous director Regisseur Hall is shooting a scen. He is dissatisfied with his star, Carla Marventa, who is wrong for the scene he must photograph. Hall notices Eva, but laughs at her desire to replace Marventa. At that moment Conrad Veidt comes on the scene and assumes that Eva is the star.

During lunch break at the movie studio, the extras rush to the canteen Hans Adalbert Schlettow, Maria Paudler and Luis Trenker are chatting. Eva von Loe a beautiful young extra rushes past; she is looking for her fiancé, Paul Wessel, who is also an extra. She has to return to the set where the famous director Regisseur Hall is shooting a scen. He is dissatisfied with his star, Carla Marventa, who is wrong for the scene he must photograph. Hall notices Eva, but laughs at her desire to replace Marventa. At that moment Conrad Veidt comes on the scene and assumes that Eva is the star.

Young Anny returns from school to her circus family, which runs a little venue at the town fair. When Anny suddenly has to fill in for one of the artists, her piano-playing not only enthrals the audience, but also theatre agent Hobbes. He casts the whole family for the Apollo theatre in Berlin, where Anny quickly raises to stardom and is offered an engagement from the US.

Berlin, the center of pleasures and kingdom of small virtues. From all over Germany, young night owls come to burn themselves cheerfully in its lights, to drown in its champagne and fill its boxes and restaurants until dawn.

Rudolf Nelson and the Weintraub Syncoptators lead thru a short musical revue, featuring eccentric dancers, singers, and a small chorus-line.