As the title "The Queen's Heart" suggests, this early German black and white version of Mary Queen of Scott's eventful reign and death focuses on her emotional perception rather lyrically, with some songs, mainly by her.

Returned from exile where he accompanied his mother Caterina Sforza, Giovanni de 'Medici (1498-1526), becomes, under the name of Giovanni delle Bande Nere, captain of fortune at the service of the idea of a united Italy.

Before he became cult director Douglas Sirk, Detlef Sierck cut his teeth on such lavish European star vehicles as Das Hofkonzert (The Court Concert). Marta Eggerth is cast as Christine, a young singer who aspires to find out who her father was. Her odyssey brings her to the court of a mythical kingdom, where she is romanced by handsome lieutenant Walter (Johannes Heesters). He is warned not to lose his heart to a "commoner," but all turns out all right when King Serenissimus (Otto Tressler) turns out to be Christine's long-lost daddy. Hofkonzert was designed as a comeback for Marta Eggerth, whose star had eclipsed by the mid-1930s.

Eine zerstörte Stadt im Deutschland des Jahres 1945. Auf einem Bauplatz läßt sich ein Wanderzirkus nieder. In unmittelbarer Nähe hausen Jungen, deren Geschäft der Schwarzhandel ist. Anführer zweier rivalisierender Banden sind Gerhard und Dietrich. Sie verbünden sich gegen den Zirkusdirektor, als sie bemerken, daß dieser die hübsche Artistin Corona mißhandelt. Bei ihrem Racheakt gegen ihn verunglückt das Mädchen. Mit einem Arzt pflegen die Jungen sie und studieren eine Vorstellung für sie ein. Ehrengast ist Zirkusdirektor Barlay. Er engagiert die genesene Corona und gibt auch den Jungen eine Chance. Als die "Coronas" werden sie später weltberühmt.

Countess Franziska "is kidnapped" by a band of robbers. However, her father is not willing to pay the ransom so Franziska changes sides.

A moving saga focusing on the women in a family that spans three generations and almost 70 years of German history, from the Wilhelmine period through the end of WWII. This film shows that it takes a combination of hard work, political consciousness and family work in tandem to face the tragedies of war, economic hardship and death.

The Rothschilds was the first of three stridently antisemitic movies made in 1940 under the Nazi regime. A purportedly "historical" account of the Rothschild family's rise to fortune, set mostly in Great Britain during the Napoleonic wars, the movie reflected a wildly ambitious racial-political agenda. Beyond its indictment of "Jewish" intrigue and avarice, The Rothschilds aimed to show the "Judafication" of British society at Rothschild hands, and thus demonstrate why, in Joseph Goebbels' words, Britons had become "the Jews among Aryans." Yet the film's dramatic conventions did not always mesh with its racial politics, and when the film was released in July 1940, German audiences were left unclear as to just who they were mainly supposed to hate. Goebbels had it pulled from distribution; a year later, a much-revised version, purged of any conceivable sympathies for its British characters, was released. The revamped movie was renamed The Rothschilds: Shares in Waterloo; this is the version presented on this DVD. But by the time of its re-release, the movie's moment had passed. Germany's air war with Britain was winding down to an inglorious end, while at home, a new, wildly popular film, Jud Süss, had become the regime's preferred vehicle for whipping up antisemitic feeling.
If, in the end, The Rothschilds proved a less effective incitement to hate, it wasn't for lack of trying. With its striking juxtaposition of Nazi social criticism and racial theory, its twin assaults upon Jewish and British character, and its deft recycling of many key myths surrounding the House of Rothschild, this film deserves far more notoriety than has been its due. Directed by Erich Waschneck; Music by Johannes Müller; featuring Carl Kulmann, Hilde Weissner and Giesela Uhlen.

A story of Prussian king (from 1740 to 1786) Frederick II the Great.

A 1943 German drama film directed by Georg Wilhelm Pabst based on the life of Philippus von Hohenheim (Paracelsus). The film is one of several big nazi era productions with main characters regarded as propaganda-parables to Adolf Hitler (see also Ohm Krüger and Der grosse König).