Melodrama about presumed adultery, jealousy and honour.
Melodrama featuring Lulu, a circus dancer who, as a femme fatale, brings misfortune upon three men.
Adventure film in which Lidia calls for the help of film hero Maciste. When she and her mom are being kidnapped, he manages to free them.
Comedy about soldier Tontolini who keeps his money in the sheath of his sword. When he wants to pay, and therefore pulls his sword, the police is called. Subsequently the misunderstanding is cleared u...
Short silent crime film about a man who is sent away by his wife. He joins a group of bandits who are aiming to make an express train derail. Coincidentally, his daughter finds herself in a goods wago...
Short comedy full of misunderstandings about a newlywed man who tries to pick up a woman who turns out to be his mother-in-law.
Newsreel item about a fashion show on behalf of a home for blind war victims. In a room several ladies are showing hats and clothes.
Anti-war film: Five different men meet each other during the First World War in a hiding place between two fronts. They find each other in the shared viewpoint that war is senseless.
Paul Wegener
Dita Parlo, Gustav Fröhlich
"Der Golem, wie er in die Welt kam" (1920)
Szene aus "Der rote Baron"
Still from "Heimkehr"
Szene aus "Der rote Baron"
Paul Wegener, Pola Negri
Still from "Das Liebesbarometer"
Warstat, W.. „Kino und Schule. Von Prof. Dr. A. Sellmann.“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III,5 (1913/1914): 116-117. Der Rezensent sieht die Verwendung von Filmen...
Kriegsecho in der Kinomusik, Der Kinematograph, 411, (1914), S. 18-19. Bericht über die musikalische Untermalung von Kriegsaufnahmen durch die Kinoorchester, die oft als störend empfunden würden.
Gedanken zur Lustbarkeitssteuer, Der Kinematograph, 694, (1920), S. 24-25. Plädoyer gegen die maßlos hohen Lustbarkeitssteuern, die Kulturschaffende in eine präkere Lage versetzen würden. Kino- un...
Hilda Blaschitz. „Tirol in Waffen (Andreas Hofer).“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III,8 (1913/1914): 207-208. Blaschitz lobt den Film und hebt insbesondere hervor...