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Berthold Viertel was an Austrian screenwriter and film director, known for his work in Germany, the UK and the US.
The Gallant Hussar is a 1928 German-British romance film directed by Géza von Bolváry and starring Ivor Novello, Evelyn Holt, and Paul Hörbiger. It was based on a story by the Hungarian writer Arthur Bárdos and Margarete-Maria Langen.
Bright Eyes is a 1929 British-Austrian silent romance film directed by Géza von Bolváry and starring Betty Balfour, Jack Trevor, and Fritz Greiner. It is also known under the alternative title of Champagner.
The Vagabond Queen is a 1929 British comedy film directed by Géza von Bolváry and starring Betty Balfour, Glen Byam Shaw, and Ernest Thesiger. It was the final film directed in Britain by Bolváry before he returned to Germany. It was made by British International Pictures. A young woman takes the place of a Princess who is a target for an assassination.
Oscar Friedrich Werndorff (1880–1938) was an Austrian art director. After leaving Germany in the early 1930s he moved to Britain where he worked in the British film industry. He co-directed the 1931 film The Bells.
Günther Krampf was an Austrian cinematographer who later settled and worked in the UK. Krampf has been described as a "phantom of film history" because of his largely forgotten role working on a number of important films during the silent and early sound era. Only two of Krampf's films The Student of Prague (1926) and The Ghoul (1933) were expressionist, as he generally used a naturalistic style.
Werner Brandes was a German cinematographer. Brandes moved to Britain in the late 1920s to work on several prestige films for British International Pictures.
Josef Somlo (1884–1973) was a Hungarian film producer. Following the Nazi takeover in Germany, where he had worked for a number of years, Somlo went into exile in Britain. During his German period he was associated with Hermann Fellner with whom he co-produced a number of films for their Felsom Film company.
Hermann Siegfried Fellner was a German screenwriter and film producer.
Number 17 is a 1928 German-British silent crime film directed by Géza von Bolváry and starring Guy Newall, Lien Deyers, and Carl de Vogt.
Felsom Film was a film production company which operated in Weimar Germany between 1922 and 1933. It was founded and run by producers Hermann Fellner and Josef Somlo. The company's name is a blend of their surnames.
Whitechapel is a 1920 German silent crime film directed by Ewald André Dupont and starring Guido Herzfeld, Hans Mierendorff, and Otto Gebühr. The film was set around a variety theatre in London's East End suburb of Whitechapel.
The White Peacock is a 1920 German silent drama film directed by Ewald André Dupont and starring Guido Herzfeld, Hans Mierendorff and Karl Platen. It was shot at the Tempelhof Studios in Berlin. The film's sets were designed by the art directors Paul Leni, Robert A. Dietrich and Otto Moldenhauer
The Green Manuela is a 1923 German silent drama film directed by Ewald André Dupont and starring Lucie Labass, Josef Winter and Grete Berger. The film is based on a novel by Clara Ratzka. A gypsy dancer becomes involved with some smugglers in Spain. The film's plot bears a number of similarities to Carmen. It was the first time Dupont worked with the cinematographer Werner Brandes and the art director Alfred Junge who were to become important collaborators with him. The poster of this movie is seen in Russian director Dziga Vertov's movie Man with a Movie Camera (1929) playing at a theater named the Proletarian. It's a symbol of Vertov's disdain of Western fanciful films.
The Marathon Runner is a 1933 German sports film directed by Ewald André Dupont and starring Brigitte Helm, Hans Brausewetter and Ursula Grabley. It was based on a 1928 novel by Werner Scheff, adapted by screenwriter Thea von Harbou. The film focuses on a love triangle between three German athletes competing at the 1932 Olympic Games in Los Angeles. It was shot at the Johannisthal Studios in Berlin with sets designed by the art directors Ernő Metzner and Erich Zander. The German premiere took place at the Ufa-Palast am Zoo. It was the last film Dupont made in Germany, before escaping into exile following the rise to power of the Nazis.
Paul Merzbach was an Austrian screenwriter and film director. Merzbach worked in the Austrian and Germany film industries during the early stages of his career. He worked initially on scripts, but in 1924 he directed his first film. During the late 1920s, Merzbach worked in Sweden before returning to Germany.
Waltz of Love is a 1930 German musical film directed by Wilhelm Thiele and starring Lilian Harvey, Willy Fritsch and Georg Alexander. It was shot at the Babelsberg Studios in Berlin with sets designed by the art director Erich Kettelhut. It premiered at the Gloria-Palast in Berlin on 7 February 1930. A separate English language version The Love Waltz was also produced.
Walter Murton was a British art director, who worked from the 1920s until the 1940s. During his early career in the 1920s Murton was the regular set designer on the silent film series The Further Adventures of Sherlock Holmes and The Mystery of Dr. Fu Manchu.
Clarence Elder was a British art director. During the 1930s he worked for British International Pictures. In 1947 he directed his only film Silver Darlings.
Staaken Studios was a film studio located in Staaken on the outskirts of the German capital Berlin. A large former zeppelin hangar, it was converted to film use following the First World War and operated during the Weimar Republic. In July 1923 it was the largest studio in the world, with floor space of around 18,000 square feet. It was used for the construction of massive sets on a series of major productions of the silent era, including I.N.R.I., Metropolis, The Holy Mountain and The Ship of Lost Souls. These epics were a part of the German attempt on world markets during the decade. The 1927 Anglo-German co-production The Ghost Train was shot at Staaken.
