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An uptight young man and his equally uptight family moves next door to a hedonistic clan, including the beautiful, sexy Topsy, who charms the new neighbor boy Tom. But Tom discovers that the price of loving Topsy may be higher than he's willing to pay -- she insists on absolute honesty and a life and love without possession or exclusivity.
FINAL ACT is based on Noel Coward's play "Waiting in the Wings". Even the smallest events turn into mind-blowing dramas at The Set, a retirement home for former actresses in England. Jealousy and madness flare into a firework display of toxicity when ex-primadonna Lotta Henderson (Birgitte Federspiel) moves in. A slap in the face of The Set's leading star in her own eyes, May Davenport (Mime Fønss), who has had a lifelong rivalry with Lotta both on stage and off. The daily dramas reach dizzying heights when a scandalous journalist (Anne Marie Helger) gains access like a wolf in sheep's clothing. A stunt that has a not-so-clever connection to the ladies' burning desire to be granted a veranda. The matter is raised to the highest level of the home's tough board of directors, and The Set's secretary Perry (Holger Juul Hansen) comes under justified suspicion of skulduggery. But this is where May Davenport's diva talent comes in as a sure trump card...
Based on Leif Panduro's 1958 satire classic. David, a senior high-school student, aims a swift kick at his principal's behind and is committed to a psychiatric ward from the perspective of which he takes a close look at his allegedly sane family. They, of course, are the real loonies. The psychiatrists are worse. Only lovely class-mate Lis is down-to-earth and trustworthy.
For Janus his friend Tore is his big ideal: pretty, intelligent and self-confident. Janus is grateful for his friendship even though he is considered the court jester. When Tore falls in love with the beautiful and sweet girl Helle, Janus accepts his role as their highly loved third party. Helle's fashionable mother, however, is a bit too interested in Tore. Written by Allan Simonsen
Kirsten gets divorced in her early 40s and moves with her son to her parents' home in Hjørring. Here she falls in love with a German officer, without considering the social ostracism and contempt she exposes herself to. Meanwhile, the tide of war is slowly turning, and German victory is no longer as certain as it once was.
Heavily influenced by the French stage sensation La Cage Aux Folles (which was filmed the very same year) a drag-queen comedy about a group of homosexuals sharing an apartment with a naive but straight country boy did not live up to expectations. The lead characters lead boring lives during the day and, as depicted here, downright pathetic existences at night, all decked out in peacock plumes and high heels and with nowhere to go.
Under the leadership of the authoritative Mrs. Emma, a mediocre theater troupe tours the remote corners of the province. Despite miserable conditions and internal squabbles, the actors keep their spirits up, but for how long?
The series follows the residents of an apartment building on Copenhagen's Christianshavn, as they go about their daily lives and challenges. There is Olsen, a mover with an old fashion view of the world, Clausen who runs the local pet shop, Egon the career focused assistant, their wives who work hard to keep their spouses lives together, the young couple Tue and Rikke who recently moved in, the hard working caretaker Meyer, who never puts in to much effort, and of course Emma, the innkeeper of Rottehullet, where all the important decisions are made while running up the bar tab. The series was produced by Nordisk Film for Danmarks Radio TV station between the years 1970-77. The series' first director was Ebbe Langberg, then Erik Balling and Tom Hedegaard respectively. The series was conceived by an author team of well-known Danish authors such Leif Panduro, Benny Andersen, and Lise Nørgaard.
A young Danish man, Christoffer, lives a life of joy and happiness with his wife Maria in Stockholm. When his father dies his mother insists that Christoffer take over management of the family industry which is in danger of bankruptcy. He is torn between his chosen life and his sense of duty to his family and its past. When he chooses to step in as manager his family life and self-respect languish.