| 1939 |
D III 88 |
Tobis Filmkunst GmbH |
3600 |
16mm |
B&W |
sound |
| 1939 |
Die Zauneidechse. |
Heinz Niemeier Kulturfilm |
4:00 |
16mm |
|
silent |
| 1939 |
Drei Unteroffiziere. |
UFA (Firm) |
94 min |
16mm |
B&W |
sound |
| 1939 |
Maria Ilona. |
Terra |
|
16mm |
B&W |
sound |
| 1939 |
NANCY DREW—TROUBLE SHOOTER. |
Warner Bros. Pictures Inc. |
8 reels |
|
B&W |
|
| 1939 |
NO PLACE TO GO. |
First National. |
6 reels |
|
B&W |
|
| 1939 |
YES, MY DARLING DAUGHTER. |
Warner Bros. Pictures Inc. |
10 reels |
|
B&W |
|
| 1940 |
Feldzug in Polen. |
Fritz Hippler |
2300 |
16mm |
Color & B&W |
sound |
| 1940 |
Going Places. |
Ray Enright |
1 reel |
|
B&W |
|
| 1940 |
The Man Who Talked Too Much. |
Vincent Sherman |
75 min. |
|
Color |
|
| 1940 |
Wunschkonzert. |
Cine-Allianz-Tonfilmprod. GmbH. |
3600 |
16mm |
B&W |
sound |
| 1940 |
YESTERDAY, TODAY AND TOMORROW |
Heinz; Wilding Picture Productions |
33 min |
16mm |
B&W |
Sound |
| 1941 |
Blues in the Night |
Anatole Litvak |
89 min |
16mm |
B&W |
|
| 1941 |
Blues In The Night. |
Anatole Litvak |
88 min. |
|
B&W |
|
| 1941 |
Flight From Destiny. |
Vincent Sherman |
8 reels |
|
Color & B&W |
|
| 1941 |
Four Mothers. |
William Keighley |
10 reels |
|
B&W |
|
| 1941 |
Honeymoon For Three. |
Lloyd Bacon |
8 reels |
|
B&W |
|
| 1941 |
Quax, der Bruchpilot. |
Terra |
92 min |
16mm |
B&W |
sound |
| 1941 |
The Strawberry Blonde. |
Raoul Walsh |
11 reels. |
|
B&W |
|
| 1941 |
Thieves Fall Out. |
Ray Enright |
7 reels |
|
Color & B&W |
|
| 1941 |
U-Boote westwärts. |
UFA (Firm) |
100 min |
16mm |
B&W |
sound |
| 1942 |
Blues In The Night. |
Minoco Productions |
1 reel |
16mm |
B&W |
sound |
| 1942 |
Ever Since Eden |
H J Heinz Co |
|
16mm |
|
sound |
| 1942 |
EVER SINCE EDEN |
*Heinz |
30 min |
16mm |
|
Sound |
| 1942 |
The Male Animal. |
Elliott Nugent |
101 min |
|
B&W |
|
| 1943 |
Journey Into the Past |
Hans Heinz Zerlett |
80 min |
|
|
|
| 1943 |
The Desert Song. |
Robert Florey |
96 min. |
|
B&W |
sound |
| 1944 |
Der Engel mit dem Saitenspiel. |
Terra-Filmkunst (Firm) |
95 min |
16mm |
B&W |
sound |
| 1944 |
Shine On Harvest Moon. |
David Butler |
112 min |
|
B&W |
sound |
| 1945 |
Too Young To Know. |
Fred de Cordova |
86 min. |
|
Color |
|
| 1946 |
It Had To Be You. |
Rudolph Maté, Don Hartman |
1 reel |
16mm |
B&W |
sound |
| 1946 |
MR. ACE. |
Edwin L. Marin |
82 min. |
35mm |
B&W |
sound |
| 1946 |
The Bachelor's Daughters. |
Andrew L. Stone |
90 min. |
35mm |
B&W |
sound |
| 1948 |
My Dear Secretary. |
Charles Martin |
94 min. |
35mm |
B&W |
sound |
| 1948 |
On Our Merry Way. |
King Vidor, Leslie Fenton |
96 min. |
35mm |
B&W |
sound |
| 1948 |
The Fuller Brush man. |
Columbia Pictures. |
3200 |
16mm |
B&W |
sound |
| 1948 |
The Girl From Manhattan. |
Alfred Edward Green |
80 min. |
35mm |
B&W |
sound |
| 1948 |
The Lady From Shanghai. |
Orson Welles |
87 min. |
35mm |
B&W |
sound |
| 1948 |
Who Killed Doc Robbin. |
Bernard Carr |
50 min. |
35mm |
Color |
sound |
| 1949 |
MR. SOFT TOUCH. |
Henry Levin, Gordon Douglas |
12 reels |
35mm |
B&W |
sound |
| 1950 |
Romanzo d'amore. |
Lux film |
95 min |
16mm |
B&W |
sound |
| 1950 |
The Fuller Brush Girl |
Ideal Pictures Inc |
85 min |
16mm |
B&W |
sound |
| 1950 |
The Fuller Brush Girl. |
Columbia Pictures Corp. |
85 min. |
35mm |
B&W |
sound |
| 1950 |
The Good Humor Man |
Ideal Pictures Inc |
80 min |
16mm |
B&W |
sound |
| 1950 |
The Good Humor Man. |
Columbia Pictures Corp. |
8 reels |
35mm |
B&W |
sound |
| 1952 |
Ruby Gentry |
Bernhard-Vidor Productions |
1:22:00 |
16mm |
B&W |
sound |
| 1952 |
Ruby Gentry. |
Twentieth Century-Fox Film Corp |
82 min. |
35mm |
B&W |
sound |
| 1953 |
His Royal Highness |
Harald Braun |
102 min |
|
Color |
|
| 1953 |
Martin Luther |
Lutheran Film Asso. |
105 min |
16mm |
B&W |
|
| 1953 |
Martin Luther |
Teaching Film Custodians |
29 |
16mm |
B&W |
|