A crippled mailman is in love with a maid who lives in the same building he does in one of the city's poor neighborhoods. She, however, is in love with a wealthy, handsome young man. ...
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The owner of a Waxmuseum needs for three of his models stories to be told to the audience. For that reason he has hired a writer, who after one look athe owner's pretty daughter, starts ... See full summary »
Madrid in the 1870s. Amidst political intrigues against King Amadeo de Saboya, wealthy and strong-willed countess Curra de Albornoz makes her own way in spite of his son and husband, ... See full summary »
A rich industrialist is brutally kidnapped. While he physically and mentally degenerates in imprisonment, the kidnappers, police and the board of the company of which he is director negotiate about the ransom of 50 million euro.
Irene Wagner, the wife of prominent scientist Albert Wagner, finds herself blackmailed about her affair by her lover's jealous ex-girlfriend. The plot, an experiment in causing fear, drives her into a rage.
A rich and skittish young girl falls in love with a young man who has a good social position and has won a waltzes contest. The father of the girl wants for her daughter a man of the future... See full summary »
Ana María Custodio,
Constanza, princess of Spain, meets Pedro, her promised husband and future king of Portugal. Amidst political intrigue, Pedro falls in love with Inès, Constanza's aid. Inès returns hastily ... See full summary »
José Leitão de Barros
María Dolores Pradera
A crippled mailman is in love with a maid who lives in the same building he does in one of the city's poor neighborhoods. She, however, is in love with a wealthy, handsome young man. Desperate to win her love, he begins to intercept love letters they send to each other and replaces them with his own messages, which each thinks is from the other. His plan seems to be succeeding, but then something happens that bring tragic results to them all. Written by
Aside from Reinhardt, Leopold Jessner was considered the most-advanced director in the German theater. The hallmark of his stage productions was the use of stairs, and his critics coined the word, "Jessnertreppin", as a short-club to beat him with in their newspaper reviews. In his only film, "Hintertreppe", he uses stairs to dramatize both the social status of the characters and their emotional relationships. For the greater part of the film, only three people are seen, and the lighting, described by Carl Vincent as "seeming to come from within the characters," is used to convey the sense of isolation. Based on the comments on this site page, most of them missed whatever it was Carl Vincent was so taken with. So did I while watching the USA 16mm under the title of "Backstairs."
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