Georg K. Glaser is a worker and writer. Quite literally. He spends the morning at his desk, from midday on he can be found at his workshop in the Parisian quarter Marais. There he produces bowls, lamps, vases, jugs and other metal work. He is proficient in metalworking techniques hardly anyone else can perform these days. Born 1910 near Worms, Glaser ran away from home at an early age and went traveling; he was placed in reform institutions and joined the Communists. In 1933 he went underground and escaped via Saarland to France. There he became a naturalized citizen, worked for the national railroads, was conscripted in 1939 and soon found himself in German

Karl Sträubler, carrier and wine wholesaler, is a real troublemaker. What brings him to a white heat is the tram, because the streetcars squeak taking corners while passing his house.

Against the advice of his friend Weichert, he tries to litigate and ends up insulting the court. Weichert's son Henry loves Sträublers daughter Leni, but when he asks for her hand, the father throws him out.

Sträubler's plans for his daughter is to marry Ferdinand, who in turn loves the daughter of the barber Pitzinger.

As Sträubler tries to arrange the engagement of Leni and Ferdinand, Leni flees to Weichert, while Sträublers wife leaves with the young son of the house, and he ends up in prison.

To the beautiful mountain resort Bad Reichenhalls comes american millionaire's daughter Miss Evelyne. Her person begins to attract the interest of. Particularly interested in her two enchanted its assets funny dandies, one thin and other fat just Flip & Flap.
Miss Evelyne visiting the resort, play tennis, as the bather takes therapeutic baths, arranges a trip to the mountains, traveling by train - following her everywhere two hunters of property. Miss Evelyne but would not allow them to entrap. The film is made to order to showcase resort in the form of a narrative comedy. We see also ways of locomotion: plane, cars, trains & cable railway.

Peter Voss (O.W. Fischer) is asked by lawyer Perrier for help: his ward Mary (Helga Sommerfeld) wants to marry the dubious prince Villa Rossa (Peter Vogel), who is eyeing Mary's money. Peter's task is to find eight stolen and priceless horse-shaped Ming figurines.

Sequel to the blockbuster film "Peter Voss, a thief of millions" with a good cast.

Michel Serres, JG 1939, Hochschullehrer für Philosophie an der Sorbonne in Paris und an der Stanford University in den USA, gehört zu den GROSSEN GEISTERN FRANKREICHS. Er verbindet die Tradition der Enzykopädie mit der Neugier auf das 21. Jahrhundert. Dort wo sich Naturwissenschaften, Politik und Philosophie aneinander reiben, da wird es für ihn besonders interessant. In Zusammenarbeit mit dem MERVE Verlag und dem HAUS DER KULTUREN zu Berlin: Begegnung mit Michel Serres.

When a franchise has reached a certain point, it has to decide whether to reinvent itself or start all over again. The latter is exactly the case with The Testament of Dr. Mabuse, thirty years after Lang’s original. The usual line is to say that it is not up to Lang’s original, but that might make us miss something. Examined on its own, the film is a formulaic, though competently produced B-movie that has Mabuse-like crimes taking place again after many years. These years include those the evil doctor has spent in a mental hospital lost in some unreachable state of psychosis. That leaves the Inspector (Goldfinger’s Gert Frobe, under a different name than he was in Lang’s last film, The 1,000 Eyes of Dr. Mabuse reviewed elsewhere on this site). Who is committing the crimes then? What is the key to the criminals’ movements? How did they get access to Mabuse’s private information on how to pull off these crimes?

The original Joe May-directed, Conrad Veidt-Starring, frumpy Mia May-containing, Fritz Lang/Harbou-written Das Indische Grabmal is an all-cylinders turning barrel of fun... full of exotic locales (or German- studio art-director's conception of exotic locales, which make them all the more unique), magic, intrigue, jealousy, spurned love, revenge... pure cinematic heaven. This film is pulp at its qualitative best, and the prints that David Shepard secured for this telecine are just wonderful, containing the original vibrant tints bursting forth from vintage nitrate prints.

Enjoy the fine mise en scene, the wonderully oily Conrad Veidt, the dashing Paul Richter (of Mabuse der Spieler fame), Lya dePutti, Olaf Fonss, a wonderfully sinister Bernhard Goetzke... I could go on. There's been no other release of this early 20's gem-- so... have fun!

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