The Royal Waltz is a 1955 West German musical film romance film directed by Victor Tourjansky starring Marianne Koch, Michael Cramer and Linda Geiser. It is a remake of the 1935 film of the same name, part of the tradition of operetta films. It was shot at the Bavaria Studios in Munich and the Carlton Studios in the same city. Location shooting took place in Munich's Englischer Garten and Nymphenburg Palace. The film's sets were designed by the art director Hermann Warm.
The Orplid Mystery or Epilogue is a 1950 West German thriller film directed by Helmut Käutner and starring Horst Caspar, Bettina Moissi, and O.E. Hasse. The film did not perform well at the box office on its release.
The Barrings is a 1955 West German historical drama film directed by Rolf Thiele and starring Dieter Borsche, Nadja Tiller and Paul Hartmann. It was shot at the Göttingen Studios with sets designed by the art director Walter Haag.
Rosemary is a 1958 West German drama film directed by Rolf Thiele and starring Nadja Tiller, Peter van Eyck, and Carl Raddatz. The film portrays the scandal that surrounded Rosemarie Nitribitt. Thiele made a second film about Nitribitt, Rosemary's Daughter, which was released in 1976.
Labyrinth is a 1959 German-Italian drama film directed by Rolf Thiele and starring Nadja Tiller, Peter van Eyck and Amedeo Nazzari.
Two Blue Eyes is a 1955 West German romance film directed by Gustav Ucicky and starring Marianne Koch, Claus Holm and Helen Vita.
My Friend the Thief is a 1951 West German comedy film directed by Helmut Weiss and starring Hans Söhnker, Vera Molnar and Hardy Krüger. It was shot at the Göttingen Studios and on location around Hanover. The film's sets were designed by the art director Walter Haag.
Slap in the Face is a 1970 West German comedy film directed by Rolf Thiele and starring Curd Jürgens, Gila von Weitershausen, and Alexandra Stewart.
She is a 1954 West German romantic comedy film directed by Rolf Thiele and starring Marina Vlady, Walter Giller, and Nadja Tiller.
Hit Parade is a 1953 West German musical comedy film directed by Erik Ode and starring Germaine Damar, Walter Giller and Nadja Tiller.
The Man Who Wanted to Live Twice is a 1950 West German drama film directed by Viktor Tourjansky and starring Rudolf Forster, Olga Tschechowa and Heidemarie Hatheyer.
Girl with a Future is a 1954 West German comedy drama film directed by Thomas Engel and starring Herta Staal, Peter Pasetti and Nadja Tiller. It was shot at the Tempelhof Studios in West Berlin.The film's sets were designed by the art directors Emil Hasler and Walter Kutz.
People in the Net, also known as Unwilling Agent, is a 1959 West German Cold War spy film directed by Franz Peter Wirth and starring Hansjörg Felmy, Johanna von Koczian and Hannes Messemer.
Romance in Venice is a 1962 Austrian romance film directed by Eduard von Borsody and starring Ann Smyrner, Walther Reyer and Willy Birgel.
Ball at the Savoy is a 1955 West German musical comedy film directed by Paul Martin and starring Rudolf Prack, Nadja Tiller, and Peter W. Staub. Inspired by the 1932 operetta Ball im Savoy by Paul Abraham, this film is closer to a revue show than the previous 1935 film adaptation.
How Do I Become a Film Star? is a 1955 West German musical comedy film directed by Theo Lingen and starring Nadja Tiller, Harald Juhnke and Bibi Johns.
The Fox of Paris is a 1957 war thriller film directed by Paul May and starring Martin Held, Marianne Koch and Hardy Krüger. It was a co-production between France and West Germany.
The Nina B. Affair is a 1961 French-West German drama film directed by Robert Siodmak and starring Nadja Tiller, Pierre Brasseur and Walter Giller.
Blind Justice or Excluded to the Public is a 1961 West German crime drama film directed by Harald Philipp and starring Peter van Eyck, Marianne Koch and Eva Bartok.
The Blacksmith of St. Bartholomae is a 1955 West German drama film directed by Max Michel and starring Viktor Staal, Marianne Koch and Annie Rosar. It was shot on location at Berchtesgaden in Bavaria and in a makeshift studio nearby. The film's sets were designed by the art director Curt Stallmach. It was part of the postwar boom in heimatfilm that peaked around this year.
