Mr. Wu

The director and co-writer Lupu Pick plays musician Erik Paulsson, who loses his beloved son after a peaceful yet critical poetry reading is raided by the tsarist forces. Paulsson, beside himself with grief, kills the officer responsible and is sentenced to life, which will mean 18 years in prison before he is free again. While he is inside, by a strange quirk of fate, his daughter Karin falls in love with writer Sebald Brückner, the son of the state prosecutor, who indicted Paulsson and is a staunch advocate of the death penalty. The conflict between the fathers does not impair the relationship of the young couple. However, when Sebald’s long-desired success on the stage is threatened by a vengeful theatre director who had sexually harassed Karin, he is enraged and kills the other man in a fight. The prosecutor now must face the blow of losing his own son to the death penalty.

Orphan Enid White becomes the ward of a cruel man. She gets close to her guardian's wife and also to his son, who secretly comes to visit when his father is not around. One evening Enid is whipped by the patriarch, and hours later he is found dead. An investigation follows.

A painter with syphilis infects his brother's wife and the child born of their affair.

Directed by Lupu Pick, who died far too young, it was billed as a melodrama about a ring of counterfeiters on its first screening in New York City. Pick plays with the already well-established conventions of the detective genre for maximum effect and humor.

The story is set in Berlin at the beginning of the 20th century. The members of a singing group live in poor conditions in a dilapidated building. When the manager of the property is murdered, Peter and Paul, both members of the singing group, become suspects in the murder. When they return from a performance, the police are waiting for them to take them in for questioning. Since Paul is the most likely perpetrator according to the investigation, he is arrested immediately.

The fun-loving laundress Mieze spends a romantic evening with the womanizer and fashion designer Max, who, however, wants nothing to do with her the next day. This only changes when Mieze appears to be the daughter of a count and "Countess Radebeul" moves into the elegant Hotel Bristol. After all sorts of complications and embarrassments, the countess turns out to be a misunderstanding, and Mieze and Max find each other after all.

A feature-length jewish joke: The heavily indebted Sami Bambus fakes his death, so that his debts are taken over by the greedy heirs, led by the scrounger Prellstein. The putative heir also brings speculators to the scene, and the general confusion can ultimately only be reconciled by the summoned uncle Salomon and by Samis' return from the dead.

The mastermind behind a ubiquitous spy operation learns of a dangerous romance between a Russian lady in his employ and a dashing agent from the government's secret service.

Part of the artificial-creature series encompassing Der Golem (1914 and 1920), Alraune (1918, 1928, 1930) and Metropolis (1926), 'Homunculus' was the most popular serial in Germany during World War I even influencing the dress of fashionable Berlin. Foenss, a Danish star, is the perfect creature manufactured in a laboratory by Kuehne. Having discovered his origins, that he has no 'soul' and is incapable of love, he revenges himself on mankind, instigating revolutions and becoming a monstrous but beautiful tyrant, relentlessly pursued by his creator-father who seeks to rectify his mistake.

A man must choose between his mother and his wife as the rivalry ratchets up throughout New Year's Eve. Like Pick's previous films, New Year's Eve does not use intertitles.

This movie, directed by Richard Oswald, is based on the operetta "Les contes de Hoffmann" by Jacques Offenbach (1819-1880), which is a genial musical potpourri from various short stories and novels by the Prussian writer, composer, painter, lawyer and judge E.T.A. Hoffmann (1776-1822). While Hoffmann's literary work was longtime considered to be merely fantastical, it was finally researched, in the last years, according to its metaphysical background. Characteristic for Hoffmann's work is his life-long fight against rationalism and for the revelation of nature morte, culminating mostly in carnival-like scenes anticipating literary techniques only described in the works of Bachtin and Bachelard.

A prince makes a socialite think she spent the night in his room.