Johannes Steiner

After the death of his parents, Beat Matter grows up with the Escher family. Their son Dominik is his best friend. As a young man, Beat enlists for two years of service with the Papal Swiss Guard in Rome. Shortly before starting his service, he meets Dominik's fiancée Jacqueline at an Alpine festival. He falls in love, even though he knows that Jacqueline is already promised to someone else.

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A father wants to try by all means to avenge the death of his son, a test pilot, whose responsible is the attractive female star of a Parisian cabaret.

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If any one man is responsible for the rejuvenation of the postwar Swiss film industry, that man was director Leopold Lindtberg. Matto Regiert (Madness Rules) was co-adapted for the screen by Lindtberg from a novel by Friedrich Glauser. Heinrich Gretler stars as Police Constable Studer, the hero of several of Glauser's most popular works. This time, Studer must solve the murder of the director of an insane asylum -- and it's not (surprise, surprise) the most likely suspect, manic-depressive patient Herbert Caplaun. For box-office purposes, Matto Regiert stresses a romantic subplot involving Caplaun and nurse Irma Wasem.

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A young soldier in an army camp near a small Swiss village gets into an argument with his sergeant, which winds up in a fight. The soldier, believing he has killed the sergeant, flees to Zurich, determined to disguise himself and cross the border into France. However, things don't work out quite as he had planned.

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The film follows a group of 14 Swiss girls during and after their final exams. It shows their little worries, joys, and conflicts during a time of transition from youth to adulthood.

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The film tells several interconnected stories of Swiss people who fall in love with foreigners but struggle to maintain their relationships due to prejudice and social norms. The narrative culminates in a conciliatory scene in which the characters overcome their differences and recognize the importance of love across national borders.

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This film shows contrasting views of women with problematic pregnancies and the outcomes resulting when they seek out a back-alley abortionist, a trained and licensed abortion provider in a clinic, or an obstetrician capable of performing a Caesarian Section. The full film appears to be lost, but shortened versions, including one with dialogue scenes added in Germany in 1935, can be found on the internet. Additionally, Eisenstein's role in making the picture remains unclear: did he direct some or all of it, just edit it, or merely leave it to Alexandrov and Tisse to make? Released in the USA 1930 in a 65 minute (5800 ft.) version with English intertitles and a music track under the title BIRTH.

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