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The Ghost Train is a 1927 German-British crime comedy film, directed by Géza von Bolváry and starring Guy Newall, Ilse Bois, and Louis Ralph. It is an adaptation of Arnold Ridley's play The Ghost Train. The film was a co-production between Gainsborough Pictures and Phoebus Film and was shot at the latter's Staaken Studios in Berlin. The film was released in France as Le Train Fantome. Some sources have reported over the years that the film was directed by famed Hungarian director Michael Curtiz but, according to critic Troy Howarth, "he's not credited on the prints, nor is the title attributed to him in any reputable source". The story was filmed again in 1931.
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 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 Britain. 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 Fellner (1878–1936) was a German screenwriter and film producer. He formed a production company Felsom Film with Josef Somlo in the silent and early sound eras. Following the Nazi takeover of power in 1933, Fellner fled into exile in Britain where he committed suicide in 1936.
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.
William Tell is a 1934 German-Swiss historical film directed by Heinz Paul and starring Hans Marr, Conrad Veidt and Emmy Göring. It is based on the 1804 play William Tell by Friedrich Schiller about the Swiss folk hero William Tell. It was made in Germany by Terra Film, with a separate English-language version supervised by Manning Haynes also being released. While working on the film Veidt, who had recently given sympathetic performances of Jews in Jew Suss (1934) and The Wandering Jew, was detained by the authorities. It was only after pressure from the British Foreign Office that he was eventually released. It is also known by the alternative title The Legend of William Tell.
The White Peacock is a 1920 German silent drama film directed by Ewald André Dupont and starring Guido Herzfeld, Hans Mierendorff and Karl Platen. Its plot follows an upper-class theatregoer who falls in love with a gypsy dancer at a music hall in the East End of London, a frequent scenario of Dupont's films at the time.
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. The film focuses on a love triangle between three German athletes competing at the 1932 Olympic Games in Los Angeles. It was the last film Dupont made in Germany, before escaping into exile following the rise to power of the Nazis.
Let's Live Tonight is a 1935 American musical comedy film directed by Victor Schertzinger and starring Lilian Harvey, Tullio Carminati and Janet Beecher. The film was made as part of an unsuccessful attempt to establish Harvey, who was a top box office draw in Germany, as a major star in Hollywood. Harvey was under contract to Fox Film, but was loaned out to Columbia Pictures for the production. After making it, Harvey returned to Europe, first to Britain to appear in Invitation to the Waltz and then to Germany, where she starred in Black Roses, which relaunched her German career.
Paul Merzbach (1888–1943) 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.
Early to Bed is a 1933 British-German romantic comedy film directed by Ludwig Berger and starring Heather Angel, Fernand Gravey and Edmund Gwenn.
Clifford Pember (1881–1955) was a British art director notable for his set designs in British cinema and theatre. Pember worked on films during the late silent and early sound eras. In 1928 he designed the sets for Alfred Hitchcock's film Easy Virtue, adapted from the play by Noël Coward. Along with Walter Murton, Pember has been identified as belonging to the "old school" of British set designers who resisted changes brought by new modernist influences.
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.
References
- ↑ Bergfelder & Cargnelli p.38-39
