Charles Willy Kayser

Maud Goodin is the daughter of a millionaire, content with her present life, but she is an interesting conquest for those wants to get on the social ladder.

King Frederick II and his leading advisors hesitate too long in the eyes of some officers, so Major von Schill decides to strike out on his own. He hoped that his brave move would be the catalyst for the great war of liberation. But von Schill's troops were soon defeated by a superior force of Dutch-Danish troops. The king takes a public stand against von Schill's actions and eleven of his officers are shot by summary execution on Napoleon's orders. However, one of them, Lieutenant Heinrich von Wedell, escapes death and is sentenced to forced labor for life. When Wedell's brother Karl, who opposed von Schill's unauthorized actions, learns of Heinrich's fate, he decides to help him in a risky way...

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.

After a passionate affair in Paris, adventurer Sascha Demidoff can no longer forget Sitha, the beautiful Maharani of Eshanpur. He travels through the wilderness of India to the maharaja's palace, where Sitha still returns his passion. But when his connection to her becomes apparent, he finds himself exposed to the revenge of the deceived maharaja. It is only with Sitha's help that he narrowly escapes from a ravenous tiger in the predator courtyard and flees with her from the palace to Berlin. Meanwhile, the architect Fürbringer is waiting for a message from Eschnapur, where he has been promised the construction of several large buildings. However, Fürbringer's friend and first draughtsman Sperling returns from India without having achieved anything. When Fürbringer's fiancée, Irene Traven, discovers that the maharajah is in Berlin incognito, she gains access to him and manages to get the prince to award her fiancé the building contract...

Martin Berger’s 'Menschen' serves as a harrowing socio-cinematic autopsy of the human spirit, adrift in the wreckage of a post-war landscape. Far from the escapist fantasies that often dominated early Weimar screens, this 1921 opus delves into the penumbral existence of the disenfranchised. The narrative follows a fatalistic trajectory, where the characters—portrayed with a raw, almost primitive intensity—grapple with the crushing weight of systemic indifference and personal moral decay.