Underground Favorites Mirroring the Impact of Ich hatte einst ein schönes Vaterland: Cult Guide

Dir: Max Mack

A fascinating piece of cinema that shares thematic elements.

Dir: Max Mack

A visual fragment from the archive: The thematic resonance of Steh' ich in finstrer Mitternacht perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Max Mack

A fascinating piece of cinema that shares thematic elements.

Dir: Max Mack

A visual fragment from the archive: The thematic resonance of Der Katzensteg perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Max Mack

A psychological escapade when romance overwhelms.

Dir: Max Mack

A visual fragment from the archive: The thematic resonance of Figaros Hochzeit perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Max Mack

This production tells the story of the famous detective, Coletti, of Berlin. Coletti has taken charge of a bank robbery case, and the editor of the Continental Daily Mail publishes an article in which he chides the detective for mismanagement of the case. As it was known the criminal remained in Berlin for forty-eight hours after the robbery; the article claimed that had Coletti published and distributed inscription of the criminal someone of the millions of inhabitants of Berlin would have captured him. In an open letter to the editor of the paper, Coletti states it is almost impossible to unearth a man hidden away in as large a city as Berlin, and to back up his statement, offers a reward of $25,000 to any person who can capture him within forty-eight hours after a full description of himself, and his photograph, have been printed in every newspaper, and posted all around the city. The challenge is accepted. All the inhabitants of Berlin, except Anton, the barber, and Lolette, Coletti's fiancée, are seeking the detective. Anton disguises as the detective, and Coletti assumes the rough clothes of a street sweeper. Freely mingling with the crowd, Coletti keeps his eyes open for Anton, whom he presently sees boarding a bus. Then a wild mob pursues Anton, but the athletic barber makes his escape by jumping from the fast going vehicle. After running a short distance he sees a Zeppelin airship about to sail away. In a mad jump he succeeds in boarding the airship, which has a good many passengers on board. Taking a seat, Anton calls for a drink, and is very much astonished to find that the waiter who serves him is Coletti himself. Finally a stout lady passenger observes Anton, and feeling confident she has captured Coletti, keeps a firm hold on the collar of Anton's coat. When the airship descends she marches poor Anton off to the editor's office to claim the $25,000. While the mob that has followed the fair stout lady are cheering her to the top of their lungs, Anton calmly removes his disguise, and distributes his business cards, and then they realize they have been tricked. In the meantime, Coletti has constantly mingled with the masses in various disguises. Then a celebrated police dog is put on the trail of Coletti. While Coletti and his sweetheart are enjoying themselves at a nearby café the crowd follows the police dog. The dog is on the scent, tugging at the leash with all his might he makes for the café. As they enter the café Lolette begins to dance, while Coletti goes into an adjoining room and changes back to his own clothing. Time has been flying fast; the mob has been watching in admiration the dancing of Lolette, then the inner door opens and a wild dash is made at the man who enters, Coletti himself, who calmly raising his hand, says, "Yes, you have caught me, but you are five minutes too late."

Dir: Max Mack

A visual fragment from the archive: The thematic resonance of Freie Liebe perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Max Mack

Teddie Barker, an employee of the Searchlight Insurance Company, falls in love with Clara Brummer. Her father does not, at first, acquiesce to the engagement, but after persuasion agrees and attends the marriage of his daughter, and promises a dowry of £5,000 when the young man attains the position of branch manager in his company. Mr. Bock, the director of the insurance company, has a weakness for granting concessions to his employees who have fascinating wives. Bumble, as general factotum, is well aware of this, and when Teddie calls for an interview, he advises him as to the necessary ways and means, and shows the methods of his colleague, John Bains, for advancement. Teddie has a most unsatisfactory interview with the director, and Bumble then advises him that if his wife is prettier than Mr. John Bains', and he will bring her along, his appointment is certain. Teddie is very downhearted, but eventually he is smitten with a brilliant idea. He will persuade one of the habitués of a famous dancing hall to impersonate his wife. Miss Dolly Frivoluse, known to her many admirers as "The Blue Mouse," readily agrees to his proposition, and for a payment of £200 consents to appear as his wife, until she can influence Mr. Bock to promote Teddie to a position as manager. Teddie introduces "The Blue Mouse" as his wife to Mr. Bock outside their offices, and the director is quickly captivated. He insists on driving them to No. 14 Park Street, the home of "The Blue Mouse." The following morning the presence of Mr. Barker is requested by the director, and he is promoted to a higher post, but not yet a branch manager, and occupies the office adjoining his chief. Teddie is in high spirits, and writes to "The Blue Mouse" asking her to come to his office that evening and to bring her photograph. Mr. Bock appears on the scene when the pseudo wife arrives, and he is more than ever enamored with the lady. The wife of another of his clerks sees the frivolity between Mr. Bock and "The Blue Mouse," and follows the lady home and finds out who she is, and promptly writes an anonymous letter to Mrs. Bock, which causes the director's domestic happiness to be disturbed. Teddie and "The Blue Mouse" now arrange that they will endeavor to bring matters to a climax, and a letter is written by Dolly to his director asking that her husband may be sent away, and suggests that she should like to have dinner with him. Teddie is ordered to a northern bank, and Mrs. Bock is advised that her husband will not be home until late. Mrs. Barker's father, Mr. Brummer, is anxious for his son-in-law's success, and calls at his office, interviews the director, and informs him he has just left his daughter's house at 30 Linden Street. Mr. Bock having recently driven to No. 14 Park Street with Teddie and his wife ("The Blue Mouse") a dispute arises as to Mr. Barker's address. The real Mrs. Barker appears opportunely at the office and appeases the excitement of Mr. Brummer, but she is believed to be "The Blue Mouse" by Mr. Bock. Mr. Barker returns and is upbraided by Mr. Bock for his infidelity to his wife. Complications are now approaching a crisis. The plot moves to the residence of "The Blue Mouse." Mr. Brummer arrives at her house to clear the doubts in his mind as to his son-in-law's address and is satisfied that there must be two "Teddie Barkers." Mr. Bock now appears and is cajoled by Dolly into signing a letter appointing Mr. Teddie Barker a branch manager, and thus fulfills her part of the contract. "The Blue Mouse" is in debt and a sale of her furniture takes place, which is surely on novel lines. A band and light refreshments to entice prospective buyers and some amusing scenes are enacted when Mrs. Barker and Mrs. Bock attend the sale while their husbands are endeavoring to hide from them in the house.

Dir: Max Mack

A fascinating piece of cinema that shares thematic elements.