Roger Karl Movies

In this Italian exploitation drama, a heart-broken young woman, recently jilted by her lover, becomes a hooker involved with a cruel pimp. After beating her, she heads for a new brothel. There she meets a dashing public- relations man who has come to her room to look into the killing of his aged boss. He helps her escape her murderous pimp and his brother, a professional killer. Unfortunately, the crooks manage to catch her. Fortunately, she is rescued by the PR man after one hood kills the other. ~ Sandra Brennan, Rovi

Provincial garage owner Jacques Dumesnil is the target of Rumeurs in this French psychological melodrama. When a prostitute is murdered, Dumesnil is immediately suspected of the crime. The police have no real case against him, but this means little in the court of public opinion. As a consequence of the pressure brought to bear against him, Dumesnil is moved to contemplate a second murder, with pretty Jany Holt as the intended victim. ~ Hal Erickson, Rovi

Tiger von Eschnapur is a remake of Joe May's 1919 silent film of the same name. Both versions were based on a novel by Thea von Harbou, at one time the wife of director Fritz Lang (and before that the wife of actor Rudolf Klein-Rogge). Hans Stüwe stars as Peter Fürbringer, a young architect who stumbles upon the "lost" Indian city of Eschnapur. Here he becomes embroiled in the feud between two brothers, the Maharaja of Eschnapur (La Jana) and Prince Ramigani (Alexander Golling). He also falls in love with the Maharaja's alluring bride (played by blonde American actress Kitty Janssen). This was part one of a two-part production; the second half, Das Indische Grabmal (The Indian Tomb) was likewise a remake of a 1919 Joe May production. In turn, both Tiger von Eschnapur and Das Indische Grabmal were remade in 1959 by Fritz Lang. ~ Hal Erickson, Rovi

Filmed in Czechoslovakia, this French-language adaptation of the oft-filmed Jewish folk tale The Golem was one of the most expensive productions ever made in that country. The story, which some have cited as a precursor to Frankenstein, is set in Prague's Jewish Ghetto. Fearing an anti-Semitic pogrom at the hands of Emperor Rudolf (Harry Baur), Rabbi Jacob (Charles Dorat) magically brings a statue to life to protect his people from harm. Known as "Die Golem," the living statue (Ferdinand Hart) does indeed save the Jews from destruction, but in so doing becomes a creature of destruction itself -- until it is tamed by the one person who does not fear him. The American release print of The Golem retained most of its spectacle, but several of the more bloodcurdling scenes -- including a lengthy torture-chamber episode -- were removed. ~ Hal Erickson, Rovi

Adapted from a story by Joseph Conrad, Sous les Yeux D'Occident (Under Western Eyes) is set in Russia during the Revolution. Haldin (Jean-Louis Barrault), an assassin for a terrorist organization, hides out in the home of his friend Razumov (Pierre Fresnay). Not wishing to be arrested himself, Razumov callously turns Haldin over to the authorities but is accused of complicity all the same. To save himself from the firing squad, Razumov agrees to act as a double agent for the Czar's secret police. Only after his sweetheart Natalie (Daniele Parola) is killed by the police does Razumov realize the damage he's caused by thinking only of himself. ~ Hal Erickson, Rovi

As indicated by its title, Baracole is adapted from The Tales of Hoffman. Gustav Froelich stars as Colloredo, who enjoys nothing more than boasting about his sexual conquests. A friend wagers that Colloredo will be unable to seduce the beautiful Giacinta (Lida Baarova). It so happens that Giacinta's wily husband Zubaran (Willy Birgel) overhears the wager, thereby setting in motion a counter-wager that will ultimately result in Colloredo's downfall. The ultimate winner in these sordid surroundings is Giacinta, who is never made aware that she has become a pawn in a dirty game of sexual one-upmanship. Though set in Venice, Baracole was shot entirely within the confines of Germany's UFA studios. ~ Hal Erickson, Rovi

L'Or is the French-language version of the simultaneously filmed German melodrama Gold. Brigitte Helm repeats her leading-lady role of Fronce Wills, but the alchemist Maisslot, originally played by Friedrich Kayssler, is herein portrayed by Jacques Dumesnil, while his assistant Berthier, enacted by Hans Albers in Gold, is essayed by Jean Gabin in the French version. Maisslot and Berthier perfect an atomic reactor (20,000,000 volts of power!) for the purpose of manufacturing gold, which is highly coveted by the villains. When the scientists realize that their invention will ruin the world's economy, they set about to destroy it, setting the stage for a near-apocalyptic climax. The original Gold was directed by Charles Hartl, who served as a consultant when Serge De Poligny occupied the director's chair for L'Or. Stock footage from both versions were later utilized in the 1953 Ivan Tors production Magnetic Monster. ~ Hal Erickson, Rovi

Coup de Feu a L'Aube was the simultaneously filmed French-language version of the German crime caper Schuss im Morgengrauen (The Shot at Dawn). Both films were based on The Woman and the Emerald, a play by Harry Jenkins. The protagonists are a gang of jewel thieves, who have been successfully able to cover their tracks for a long time. Alas, their winning streak comes to a sudden screeching halt when one of their number makes the mistake of murdering a police detective. The essential difference between the French and German versions is that the police officers depicted on-screen wear different costumes. Otherwise, all the exterior shots, crowd scenes and action highlights in Schuss im Morgengrauen were re-cycled for Coup de Feu a L'Aube. ~ Hal Erickson, Rovi