Johanna Ewald

Blonde goddess Marika Rökk plays Julia Koster, a ravishing red-headed musical revue star and her opening number, "At Night It Isn't Right To Be Alone", playing to a packed theater, is both an eye-popper and a jaw-dropper.

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Tenor Enzo Curti, a widower with a young child, falls in love with a secretary from New York. Liselotte has experienced disappointment in her first love, Helmut, an ocean liner officer. She marries Enzo Curti, but later, when she meets Helmut again, she experiences emotional stress as love struggles with a sense of duty in her heart.

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The traveling salesman for a bathing suit company has trouble getting business until he meets a girl willing to take off her clothes and act as a model.Misunderstandings and complications ensue.

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Johann Strauss helps the business of a Viennese wine merchant and his daughter by showing up to conduct the orchestra at a party.

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Elisabeth is subject of a girl's boarding school run by the nuns. The village idiot Michele adores her and is particularly drawn to her organ playing. In his madness, he kills the girl's father and tries to lay the blame on the organist.

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This 'musical burlesque' tells about a stylish young gentleman who works as a so-called 'Festredner', a person who makes speeches at important events like marriages etc. for people who don't feel able to do it themselves. Willi lends his voice to a speech-impaired professor, but the baroness who falls in love with Hörbiger only does so because of Willi's voice, and this leads to all sorts of complications…

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The lively Anny meets the nice Dr. Jack Braun and throws everything in his life into disarray. As Jack is in the middle of divorce proceedings against his wife Renate, his lawyer and best friend Richard doesn't like the idea of a female being in his vicinity. Then Jack's heiress Frieda comes to visit, and when she finds Anny in Jack's house, she mistakes her for his wife - and finds her extremely charming. When the aunt's parrot dies, the relatives believe that the aunt has died and rush to claim the inheritance. Anny emerges victorious from all this.

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Struggle for the Matterhorn (German: Der Kampf ums Matterhorn) is a 1928 German-Swiss silent drama film co-directed by Mario Bonnard and Nunzio Malasomma and starring Luis Trenker, Marcella Albani, and Alexandra Schmitt. The film is part of the popular cycle of mountain films of the 1920s and 1930s. Art direction was by Heinrich Richter. Based on a novel by Carl Haensel, the film depicts the battle between British and Italian climbers to be the first to climb the Matterhorn. Trenker later remade the film as The Challenge in 1938.

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Reinhold Schünzel plays the rigid representative Traugott Bellmann, who publicly condemns the low morals of the night life. Although Belmann's stance is supported by his wife, he is strongly opposed by his father-in-law, a champagne manufacturer. But when he inherits 500 000 Marks in cash and the infamous nightclub "Der Himmel auf Erden" ("Heaven on Earth") from his deceased brother, Bellmann really gets himself into trouble: In order to fulfil his brother's will - and to get hold of the money - , he has to be at the club every night at 9 pm.

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A wealthy man, a circus clown by profession, tells another man, during a car ride, some excerpts from his life and that of his partner. Before becoming a clown, he had difficulty finding work due to the abnormal appearance of his face and was constantly laughed at.

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Maud Goodin is the daughter of a millionaire, content with her present life, but she is an interesting conquest for those wants to get on the social ladder.

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Dr. Schneider paces restlessly around his practice - hardly any patients come in. He is delighted when the letter carrier finally rings, but he is in perfect health. Then his cook appears with a tiny cut. Instead of a plaster, Schneider applies an oversized bandage and prescribes strict bed rest. Dissatisfied, he goes hunting for sick people on the street and even treats a passer-by until he flees, exasperated. In the end, only his cook is fit and lively at the stove again. A lost film.

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