Jarmila Novotná

In postwar Germany, a displaced Czech boy, separated from his family during wartime, is befriended by an American GI while the boy's mother desperately searches for him.

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Based on the 1920 operetta "The Last Waltz" by Oscar Straus.

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The story revolves around Vera, a renowned singer constantly evading her possessive Russian husband, Count Ogolenski, who uses cunning tactics to eliminate her potential suitors and refuses to grant her freedom. Seeking refuge and romance, she becomes involved with the wealthy Dschahid Bey, leading to a tense confrontation amid elements of espionage, with settings including Egypt and the Nile. The narrative blends absurd intrigue, thriller aspects, and romantic tension, reflecting Perutz's style of fantastical and mysterious tales.

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Count Dimitri is sentenced to death for hitting Prince Paul who was trying to steal a kiss from Countess Vera. Prince Paul pardons him because of a young girl who knew how to conquer his heart at the right time.

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Czechoslovakian opera star Jarmila Novotná plays the title role in the Austrian tunefest "Frasquita". Based on a Franz Lehár operetta, the story is the usual frothy nonsense. Dolly (Charlott Daudert) is engaged to marry Harald (Hans Heinz-Bollmann), but she's really in love with Hippolit (Heinz Rühmann). Harald is likewise enamored of another, namely Frasquita (Jarmila Novotná).

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The story, set in Constantinople, of a young man who falls in love with a woman much older than he is, and her daughter falls in love with him also. An American critic was vastly impressed by the day-and-night locale shots, and wrote that the film-maker had discarded and soft-pedaled the soft and sentimental in favor of the realistic and logical.

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Bohemia in the 19th century, stage-coach driver Hans loves the mayor's daughter Marie, but she is promised Wenzel, the son of another wealthy farmer. Marie refuses to marry Wenzel because of Hans, but the marriage arranger tries to "buy" Marie from Hans. But when Wenzel tells Hans that he doesn't want to marry Marie either because he loves circus director Brummel's daughter, Hans decides to accept the offer of money for not interfering in the relations of Hans and Marie. But when Marie hears about this, she doesn't want to see Hans again.

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First of several filmed versions of a popular period operetta, in which an early 18th century noblewoman in Poland falls in love with a revolutionary student activist.

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It begins with a Tannhäuser performance and ends with the premiere of The Tales of Hoffmann. In between a young ingénue cast in her first big role, the Hoffmann rehearsals, the theatre director and his stage director exchanging cynicisms, a budding love affair. Gründgens at his most repulsive, trying to woo both lovers. And a hair-raising finale. Add to this some snappy dialogue and "pre-code" scenes that make you sit up and stare.

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