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Born into a well-off family, Franz Blum had led a carefree youth until, some time after graduating from high school, he was arrested by the police. For, involved by a gang of bad boys, the young man had taken part in a bank robbery. A "heroic deed" which earned him six years in prison. Once behind bars, he was treated with ruthless inhumanity by the guards. And little by little - but inexorably - Franz turned into an insurgent...
A Swiss bank discovers some of its clients are becoming the victim of a brilliant blackmailer. The bank's president contacts David Christopher, a former agent with the U.S. Treasury, to help discover who the blackmailer is and to foil his plot. As Christopher delves into the mystery, he uncovers a complicated web of intrigue, car chases, and shoot-outs that takes all of his wits to unravel.
Our hero is Umbi (an acronym for emissary of the bishop), sent by him to undertake an important investigation at Snæfell-glacier. In particular he is to look into the conduct and behavior of Jón Prímus, the old pastor at Snæfell. Fantastic rumors are rife: amongst other things it is said that a corpse is lodged in the glacier! Armed with his tape recorder and notebook, Umbi embarks upon his mission. He tries to question the weird locals, a weird lot, but gets evasive answers. Slowly he is dragged into a quagmire of strange happenings and his efforts to understand only make him confused. If at the beginning he is a chipper, a mere device, by the end of the story he is inextricably involved, a committed participant in the bizarre events.
Kollwitzplatz, Prenzlauer Berg: Children are playing and climbing all over the monument to Käthe Kollwitz, frowning adults are watching them. What would Gustav Seitz, the creator of the sculpture, say? Christa Mühl has asked him but reveals his answer only when the adults have finally disappeared. Until then, she constructs explosive matter as light as a feather, set to Belgian cembalo jazz and with the perky montage style that characterises her early documentary work. After Karl-Eduard von Schnitzler himself had the most controversial scene cut, the film could be broadcast on television and triggered a lively discussion about the practical value of art.
