Will Quadflieg

Christl, the forester’s daughter, apprehends a young hunter in the forest and only lets him go after he pays a small fine. But when Christl goes to the emperor shortly afterward to plead on behalf of her beloved—a Hungarian officer who has fallen out of favor—she can hardly believe her eyes: the young hunter was the emperor.

Lola Montes, previously a great adventuress, is reduced to being the attraction of a circus after having been the lover of various important men.

A tenor sparks new hope into the life of a wife,a former piano player whose husband has not been paying enough attention to her.

Olga, a Russian refugee from Bolshevik terror, has joined the Soviet secret police to find the man responsible for killing her parents. Meanwhile, a young Baltic couple are caught up in the schemes of the communists.

In 1957 Gustaf Gründgens staged a new production of Goethe's Faust in which he once again played Mephisto, a part he had played since 1932. The brilliant production was a huge success and ran for a couple of years. In 1959 Peter Gorski captured the performance on film in his directorial film debut. Basically it is a registration of the production, but Gorksi did manage to accentuate the details of the acting by using enough medium and close-up shots which give a view on the acting you normally would not able to see in a theater.

When Bartos, the director of the Odeon variety theater, cancels an artist at short notice, he hires the Terrys out of necessity, whose parents were successful variety artists, but who had not yet received an engagement themselves. Both are supported by Tobs, a friend of their parents. While blonde Mara Terry arrives punctually for the first rehearsal, her dark-haired sister Kora is late like a diva and acts aloof and snippy. At their first performance together the next day, Kora is overtired from partying the night before. During a dangerous act in which she has to balance her upside-down sister on her head, she becomes careless...

As the title "The Queen's Heart" suggests, this early German black and white version of Mary Queen of Scott's eventful reign and death focuses on her emotional perception rather lyrically, with some songs, mainly by her.