The dancer Lena Schmidt wins ten thousand mark at the lottery. With the money she leaves for a fashionable resort. Lena meets there the penniless painter Gustav Lindner, who is looking for a rich wife.
Poor Lena!
Shares a lead actor · Same director
The dancer Lena Schmidt wins ten thousand mark at the lottery. With the money she leaves for a fashionable resort. Lena meets there the penniless painter Gustav Lindner, who is looking for a rich wife.
Shares a lead actor · Same director
Twenty years ago, the Count of Groningen left his ancestral castle. Since then, it is said to be haunted. Shortly before his escape from the dark walls, the Count had left his newborn child to the care of the administrator and farmer Grödner. The nasty Grödner had already swapped his own child Veronika with the Count's in the cradle, probably because he hoped to one day gain possession of the castle.
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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.
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The homunculus and his companion Edgar Rodin make an invention that would allow the hateful homunculus to destroy the world. But first he wants to find out about love. When he observes how young Anna is rejected by her parents, he takes care of her and asks her parents for forgiveness - without success. He brings her to her seducer, who also rejects the girl. The homunculus then takes revenge by ruining the man financially and throwing Anna at his feet. But she still loves the villain and asks Homunculus for mercy. The homunculus cannot understand this feeling of love - he wants to try it out on himself. He puts a young woman who loves him to the hardest test, but she will do anything for him, sacrificing her fiancé and her parents. Only when he reveals his artificial nature to her, she leaves him. This experience confirms the homunculus in his intention to destroy mankind.
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In San Francisco, well-known sportsman Kay Hoog announces to a club that he has found a message in a bottle with a map drawn by a Harvard professor who has gone missing. The map tells of a lost Incan civilization that possesses an immense treasure. Hoog immediately plans an expedition to find it. But Lio Sha, the head of a criminal organization known as the Spiders, is determined to get the treasure for herself and plans a rival expedition.
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A sculptor obsessed with a pianist will stop at nothing to rid himself of any competition for her affections.
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When we last saw Kay Hoog (millionaire adventurer, courageous hunk), he’d been beset with tragedy. Having escaped an ancient Incan city by the skin of his gleaming teeth, Hoog looked forward to a few years of settled life with his (amicably) captured Incan lovely, Naela. But the past struck quickly. Hoog’s arch-nemesis, the homicidal femme Lio Sha, murdered Naela on the very grounds of Hoog’s estate, prompting him to swear revenge upon her and her criminal organization, the Spiders. Now he must find them, as the Spiders continue their global quest for the Buddha-head Diamond. The head, it’s said, has the power to restore Asia to world dominance.
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A group of scientists, led by a Professor Ortmann, produce a living human child using scientific processes - a "homunculus." This creature is human in every way, except that he cannot experience love.
Same director
Shares a lead actor
Der Stolz der Firma, meaning The Pride of the Business, is a classic German silent film from 1914. The film tells the story of a shrewd apprentice and is filmed in the comical style of director Lubitsch. This is one of the few Lubitsch films from World War I that wasn’t lost.
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