Der Bagnosträfling

Mary and Eva are best friends, although they couldn't be more different. Armand, Mary's fiancee, falls in love with the seductive Eva, who is busy becoming a revue star. When Eva fails and loses her money, Armand tries to help her out.

Hajj, a rascally beggar on the periphery of the court of Baghdad, schemes to marry his daughter to royalty and to win the heart of the queen of the castle himself. This is a German-language version made in Hollywood along side the 1930 production directed by John Francis Dillon.

Taking place over 12 hours on New Years Eve, a concert pianist murders his wife's lover, then frames an innocent man.

In a futuristic city sharply divided between the rich and the poor, the son of the city's mastermind meets a prophet who predicts the coming of a savior to mediate their differences.

Das Kriminalmuseum was a German television series. It ran from 1963 to 1970 on ZDF and was one of its first programs. Each episode began with a tracking shot through an unspecified crime museum, stopping at one of the displays, whose story was then told. Each episode was between 60 and 75 minutes long and featured different actors as the criminal commissioner. The best known was Erik Ode, who in 1969 moved to Der Kommissar, appearing in 97 episodes. The theme music of the series was written by German composer Martin Böttcher, who also composed the complete scores for five episodes.

Starring Betty Amann in her most famous leading role, Joe May's Asphalt is a luxuriously produced German Expressionist classic where tragic liaisons and fatal encounters are shaped alongside the constant roar of Berlin traffic.

The moral is simple: keep your mouth shut, especially when you're working during the wartime in a factory, which produces racing cars only, or someone can (or even must) get murdered. Not a good movie, not a bad either. The ending is abrupt and artificial, which seems to be a common plague of Third Reich's crime movies. Gustav Fröhlich could never get rid of his silent era mannerisms and overacting. But on the other side, this film is not boring and has to offer some decent plot turns and acting.

After living in the tropics for five years, Peter Asfeld returns to Amsterdam and wants to marry his childhood friend Julia Vermehren. However, his future father-in-law has read in the horoscope that Peter will one day commit a theft and demands that he do so before the wedding. Peter can't get the thought out of his head, and even in his dreams he commits all kinds of crimes. Inspired by so much imagination, he kidnaps Julia, his future wife, the next day. But the horoscope was wrong.

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.

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