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It is carnival time in Munich and participants are overindulging in alcohol and sensual pleasures. "Follow us into madness" beckons Lys who is drunk on life, but the sensitive Henry does not follow him. Lys has betrayed his fiancé, as Henry once betrayed his lost love Anna. In memory of Anna and his cruel Dickensian childhood, Henry challenges Lys to a duel to try to appease his guilt.
Even with good acting, pleasant music, and artistic photography, this "love-boat" story of romance is more like Alice in Wonderland rather than Alice on the streets of Zurich. The Zurich Alice is a flautist who plays for the passersby like many another street or Metro musician. While so engaged, she meets a VIP Russian flautist who has defected and is living in the city. He falls in love with her and as a gesture of his devotion decides to arrange her solo concert debut. Meanwhile, Alice easily figures out what his plans are and devises her own secret scheme. When the day of the performance arrives, her Russian heartthrob is in for a flattering surprise, sure to end his bachelor status. ~ Eleanor Mannikka, Rovi
At the end of the 19th century, an educated white-collar worker finds himself in the employ of an inventor. As he is neither a "worker" nor an "owner," his position in the inventor's household and in the world at large is equivocal. Despite the difficulties he encounters, he tries to hold onto his job in order to support his family, but is eventually fired. This Swiss movie is based on a novel written around 1900 by Robert Walser.
Francois Korb is an arms manufacturer who sold both to the Germans and the Allied forces. Korb's home life is less than ideal, since his wife is having an affair with his brother, and his young son is inseparable from a teddy bear. To remedy the son's situation, the parents take in a little refugee girl as a temporary companion and playmate, and the two children become fast friends.
A remarkable approach to Goethe's novel "The Sorrows of Young Werther": on the one hand, a film adaptation that strives to remain faithful to the work and its words; on the other hand, an examination of Goethe's authentic story, his experiences that inspired his writing, and his retrospective comments as an old man. The dialectical connection between these two models brings to life experiences of love, loneliness, and deadly despair, leading in one case to desperate suicide and in the other to poetic processing.
Angelo and two of his buddies set out to rob a Swiss bank, and from the start things don't go well. The man driving the getaway car packed up and left before anyone could connect him with the crime, and Angelo's other partner got shot and killed. The best he can do is grab someone's cash-filled briefcase and take a car and its driver hostage. It turns out that the driver is the daughter of the bank director, so he figures that she's good for ransom money and begins negotiations for that. Meanwhile, the briefcase he took at the bank turns out to have belonged to a man who is willing to hire killers to get it back for him. The situation grows increasingly perilous for him, and he decides to flee the scene but not before he has won the heart of his lovely hostage.
With the help of his assistant Anja, Ottocaro Weiss intends to put the plague on stage: circumstances beyond his control and a lack of fresh talent have forced him to close down his flea circus. For Weiss, the plague means the «extinction of everything that makes life miserable and low and freedom along with it. Unbeknownst to him, he has won the support of a patron who is of the exact opposite opinion: for Johannes Wagner, the plague is an organising principle, and, aided by his agent Moosbrugger, he is able to smuggle a new number onto the programme. Whereas Ottocaro Weiss means to represent the plague theatrically, what appears on stage is the scientific reality of the rat-borne infestation.
Marcello Mastroianni, Isabelle Adjani, Alain Delon, Martin Scorsese, Woody Allen... the biggest stars in cinema were welcomed by Christian Defaye on his show Spécial cinéma. Between intimate confessions from actors and immersion in the world of the greatest filmmakers, Christian Defaye took viewers on a journey into the fascinating world of cinema for nearly thirty years.
Arsène Lupin is a French TV show which was co-produced with German, Canadian, Belgian, Dutch, Swiss, Italian and Austrian TV stations. It was only loosely based on Maurice Leblancs novels. Georges Descrières' portrayal of Arsène Lupin showed more similarity to Graf Yoster than to Maurice Leblanc's original. He behaved in the first place as a perfect gentleman who never got angry. He was always relaxed, because whatever could possibly had bothered him in daily life was taken care of by his butler. It wasn't questioned how he had come to his financial independence although the series sometimes discreetly implied that he was a professional criminal. Besides rescuing damsels in distress Lupin took on criminals, competing with their wit and intelligence. Either he stole paintings from rich people who had to be considered white-collar criminals or he acted as a detective who derailed criminal schemes. However, when he was attacked, he could defend himself effortlessly by using elegant jujutsu methods. Among the guest stars were German actors such as Günter Strack and Sky du Mont. Jean-Paul Salomé said in his commentary on the DVD version of his film Arsène Lupin he had like this series as a child. German TV, one the investors, would broadcast the show eventually between 18:00-20:00 o'clock because it was only allowed to show commercials within that very timeslot. For them to get a financial return on investment the show had to be appropriate for families and also for children who would watch it alone. Subsequently it was nearby to ask to defuse and flatten some of Leblanc's plots in order to avoid possible complaints that could force the station to broadcast the show beyond the "Vorabendprogramm".