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.

A seductive dancer (Marika Rökk) helps her uncle to fight against the closing of his casino. Through her feminine charm she achieves diplomatic success.

Berlin's theatre crowd is excited about the new operetta "Frau Luna". But for the head of the city's vice police, who was invited to the dress rehearsal, the costumes for the ladies onstage are a bit too revealing. He demands the show be cancelled as offensive. The president of the Thusneldenbund has taken it upon himself to alert everyone about the growth of immorality in the capital. The theatre director Knopp has come up with an idea to convince these "fine" gentlemen to let the operetta go onstage again: He intends to win over the friendship of the moral police and then nothing will stand in the way of "Frau Luna" once more being performed.

The feisty boss of a chain of cafes wants to push the youngest of her daughters off on a husband, who would be well-suited to take over the business one day. And although the widow Bohler causes a lot of confusion in her struggle to find happiness for her daughter, everything ends up working out well in the end.

Charming Tom is pursuing fine Olivia both cheerfully and stubbornly. At first, she rejects him brutally; but then she finds pleasure in this intrusive guy, who’s following her everywhere. They spend an evening together; but afterwards, Olivia determines, that a valuable bracelet has been stolen from her. Now she thinks Tom is the infamous jewel thief, who’s been terrorizing the neighborhood.

The physician Dr. Deruga is suspected of having poisoned his wife out of greed. She died after naming Deruga, poor and in debt, the sole heir in her will. There are a lot of people willing to testify against him in court, including Marta, the dead woman's best friend. Only his niece Mingo believes him to be innocent and goes out on her own to prove it.

Following the breakdown of her marriage to an artist, a female doctor goes back to her position at a hospital.

In 1885, famous New York Metropolitan Opera singer Maddalena dall' Orto is scheduled to perform at a festival in the German residence of Ilmingen. It soon becomes obvious that she is non other than Magda von Schwartze, who left the town eight years ago against her father's wishes to become a singer.

German all-star musical from 1938 that was a big commercial success.

a movie by Heinz Paul

The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!

A comedy directed by Alwin Elling.

Film by Carl Boese.

Gusti Aigner and Franz Lenhardt are in love, but composer Lenhardt is too shy and bashful to go out and sell his compositions to music publishers. Gusti takes the burden on herself; and while there are complications and humorous situations she runs into.

At the start of the 18th century, British Queen Anne, inspired by her German born lady in waiting, emancipates the country's farmers and peasants.

Sir Robert Chiltern is a successful Government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears in London with damning evidence of a past misdeed. Sir Robert turns for help to his friend Lord Goring, an apparently idle philanderer and the despair of his father. Goring knows the lady of old, and, for him, takes the whole thing pretty seriously.

The story of the stormy relationship between King Friedrich Wilhelm and his son, who later became known as King Frederick the Great of Prussia.

Georg Alexander plays Douglas Mavis, the son of a rich English family who falls in love with a Berlin girl (Renate Müller) and marries her. However, he doesn't tell his family, and for a reason: the resolute head of the family (played by the inimitable Adele Sandrock) has other designs for her grandson. Further complications arise when the family lawyer (Adolf Wohlbrück) gets to know the Berlin lady without knowing who she is. And meanwhile, Mavis meets an alluring lady from a cabaret (Hilde Hildebrand).

A journalist travelling by train to Vienna meets an American millionairess travelling incognito. They become friends and decide it'd be fun to swap places for awhile.

Film by Jacoby.

Trying to impress his wife, a newly-wed office clerk makes up a story about being promoted to manager of a record-company.

The film starts in the fashionable seaside resort on the Baltic, Heringsdorf, where Renate Müller spends a secret weekend away from her husband with her bosom friend Ida Wüst. The husband meanwhile has a flirtation while traveling by night train from Frankfurt to Berlin, nice atmospheric shots of sleeper and dining car in the morning. The action continues in the luxury villas and apartments of Berlin, Renate Müller wears a string of very elegant outfits. Misunderstandings, jealousies, temporary separation of husband and wife, a few songs, wicked humour.

Dan Douglas is a typical Scottish. When his niece Evelyne marries engineer Fred Keller aboard the ship to Scotland, he gives her a pearl necklace as dowry, but it's false. The newlyweds face their differences when the necklace gets lost.

A musical-comedy by Conrad Wiene

When his wife storms out of a dinner planned for his American boss (because their dog is not allowed at the table) an engineer substitutes his secretary and pretends she is the wife

Princess Melanie wants to examine her future husband and pretends to be his maid. His Highness plays the secretary. While a goofy servant mimics the baron, he himself takes time to flirt with the alleged maid.

Though "blessed" with a complex title, which translates as Marriage with Limited Liability, this German comedy was adapted from the more simply titled stage play Causa Kaiser. Composer Georg Kaiser is unable to secure a divorce from his wife, so he "lives in sin" with his singer-sweetheart Causa. The girl's wealthy uncle dies, leaving her millions -- provided she is married to Georg Kaiser. Hoping to take advantage of a legal loophole, Georg seeks out another man named George Kaiser, intending to marry him off to Causa so that she can collect her legacy. Georg Kaiser # 2 is a middle-aged naif who can't understand why his new bride is so cold to him. When he finds out he's been duped by Kaiser #1, Kaiser #2 finds solace in the arms of another woman closer to his own age, which somehow leads to a happy ending for all concerned.

Film by Karel Lamac.

Caught by Archduke Max in an embarrassing situation with Marie-Charlote, Captain Rudi is forced into marriage. Yet he approaches actress Josefine, the Archduke's girlfriend, being outright transferred as punishment. Then both girls appear.

A convent organist escorts a young lady who has been boarding there,home to be married, but various romantic complications ensue.

Musical about a girl typist who leaves Berlin for Venice after winning a contest. A rich bachelor pretending to be poor takes a job with her and competes for her affections with a count and a tenor. No print of the film is known to survive, and it is therefore a lost film. It is based on the operetta Es lebe die Liebe by Alexander Engel and Wilhelm Sterk. It was one of a cycle of operetta films made during the early sound era. A French-language version, Venetian Nights (Nuits de Venise), also directed by Wiene, was released the same year. From Wikipedia.

The night before his wedding George gets drunk and marries a chorus girl. Her boyfriend appears, they fight and are believed dead, so she is now "the bridegroom's widow" (die Bräutigamswitwe). When they both come back one after another they must hide from the Police as they believe they have murdered each other, while the inspector believes there are ghosts in the house.

In this romance, a banker's daughter suddenly breaks off her engagement on her wedding day. She then meets a man who believes in easy money. He sees her as his meal ticket and the two take off together.

A tourist guide in Naples is taken on by a Viennese woman impressed by his singing, and who regards him as her protege. This film was released as a German version and English Version known as "The City of Song". Brigitte Helm once portrays a beautiful femme fatale who displays her affection and lust for her tourist guide which is paralleled with the main bodied theme of the early romanticist songs played throughout.

Originally Liebeswalzer, this German operetta was the third talkie vehicle for the effervescent Lillian Harvey. The plot is a typical Graustarkian affair, with Princess Eva (Harvey) preparing to marry a duke whom she's never met. Getting cold feet, the duke ducks the wedding, persuading a handsome young commoner named Bobby (Willy Fritsch) to take his place. The wedding goes on as planned, with Eva never suspecting that her new hubby is a ringer. Eventually, the false duke confesses everything, leading to all sorts of intrigue before a happy ending can be realized. Love Waltz was simultaneously filmed in an English-language version, which posed no problem for the British-born Harvey but caused a few uncomfortable moments for her Teutonic co-stars (eventually, Willy Fritsch was replaced by John Batton, who'd played a bit role in the German version).

German short film

With a script co-written by Weimar-era sexologist Magnus Hirschfeld, this enlightened drama deals with WWI soldiers who have become impotent due to wounds but still want to marry.

a silent movie by Robert Wiene

Based on the operetta of the same name.

Peter Verdy falls in love with Lola (Ossi Oswalda) who is mistaken for a boy when she appears in stage regalia before a rich uncle who has other marriage plans for his nephew. The tangle ensuing is finally sorted out with excellent results all round.

Fred Holme is looking for candidates for the beauty contest in his London newspaper. In Rome he discovered the most beautiful woman in the world, the young arts and craftswoman Lucia Sarlo.

Here Richter plays an Armenian princess whose father is being held prisoner by a despotic and corrupt pasha. A confrontation at the New Year’s Eve Ball at the Paris Opera leads to the princess being wrongly suspected of attempted assassination against the pasha. With the help of an English diplomat, she manages to flee Paris, but the pasha and his henchmen are hot on her heels. This marks the start of an extended, action-driven cat-and-mouse game that stretches to the outer regions of the Bosporus – and back again.

Deviating from the historical facts, Lola is introduced as a young Spanish “Gypsy” who becomes involuntarily embroiled in an attempt to poison the Infante of Spain (a short but splendid cameo by Heinrich George). As a result, she has to flee the country, arriving first in Italy, where she is taught how to act like a lady. Later, in Paris, she is invited to dance at the city’s prestigious opera house, becoming a worldwide sensation. She then becomes secretly involved in a revolutionary plot by Louis Napoléon, the future emperor of France. When the plot fails, Lola is once again forced to flee, this time to Munich, where she captures the attention of Ludwig I. Their ensuing affair arouses a great deal of hatred among the people and the establishment, however. In the end, Lola has no choice but to leave again, and vanishes into the night mist.

The married Lady Emma Hamilton has an ill fated romance with Admiral Horatio Nelson.

A social drama set in the milieu of the arts.