Virginia Oldoini, Countess of Castiglione, is an unscrupulous and beautiful woman, in love with Andrea Pieri, a patriot ready to do anything to free Italy from the foreign oppressor. Wounded during a chase, Pieri takes refuge in the castle of Virginia, which, with the approval of her husband, Count Francesco Verasis of Castiglione, takes care of him. Meanwhile, Nigra, in charge of the affairs of the Kingdom of Piedmont in Paris, discovers the relations of the countess with the subversives and sees in her the perfect tool to bring Napoleon closer to the Italian cause.

Loreley looks back to the happy times when she became a silent movie star with the huge success of "La Contessa Azzurra", directed by Don Salvatore and produced by Don Peppino, the owner of a Café Chantant.

The lover of an Italian revolutionary offers herself to Napoleon in exchange for her sweetheart's life.

La Contessa di Parma was the sole directorial contribution by Allesandro Blasetti in 1937. The first of several expensive costume dramas upon which the director established his international reputation, the film stars Elisa Cegani as Marcella, a model in the dress shop owned by enterprising Umberto Melnati. To improve his business, the owner instructs his models to dress up as society ladies and attend all the best parties. And that's how humble little Marcella comes to be mistaken for the popular Duchess of Parma -- and by extension, how our heroine wins the love of football hero Gino Vanni (Antonio Centa). A little wanting in the way of plot or logic, La Constessa di Parma is at least consistently good to look at.

Has-been director Harry Dawes gets a new lease on his career when the independently wealthy tycoon Kirk Edwards hires him to write and direct a film. They go to Madrid to find Maria Vargas, a dancer who will star in the film.

A Russian countess stows away in the stateroom of a married U.S. diplomat bound for New York.

Kingdom of Hungary, 17th century. As she gets older, powerful Countess Erzsébet Báthory (1560-1614), blinded by the passion that she feels for a younger man, succumbs to the mad delusion that blood will keep her young and beautiful forever.

In 1930s Shanghai, 'The White Countess' is both Sofia—a fallen member of the Russian aristocracy—and a nightclub created by a blind American diplomat, who asks Sofia to be the centerpiece of the world he wants to create.

Josefine is a young streetwalker in Vienna at the turn of the 20th century. She manages to sleep her way to the top by marrying a British aristocrat, and she delights in telling ribald stories of her sordid past to moralistic prudes.

In this sequel to the original story, Monte Cristo count Edmund Dantes (Martin Kosleck) returns to Paris to get revenge but soon finds himself pursued by a cruel policeman (John Loder). The count's brave wife Haydée (Lenore Aubert) throws the cop off her husband's scent by dressing up as the masked avenger herself and proving that she too is most competent with a sword.

Elvira is travelling through the French countryside with her friend Genevieve, searching for the lost tomb of a medieval murderess and possible vampire, Countess Wandessa. They find a likely site in the castle of Waldemar Daninsky, who invites the women to stay as long as they like. As Waldemar shows Elvira the tomb that supposedly houses the countess, she accidentally causes the vampire to come back to life, hungrier than ever. Daninsky has a hidden secret of his own, but will it be enough to save the two girls from becoming Wandessa's next victims?

British agent working in Russia is forced to remain longer than planned once the revolution begins. After being released from prison in Siberia he poses as a Russian Commissar. Because of his position among the revolutionaries, he is able to rescue a Russian countess from the Bolsheviks.

The impotent count Anatol loves to photograph his wife Verena, while she is having fun with other men. Everything changes when Verena falls in love with Toni, a young auto mechanic.

The two aspiring actresses Jeanette and Mimi are waiting for their big chance. But the real breakthrough is slow in coming. Jeanette especially desperately needs a big success, since her friend, the journalist Stephan, is about to lose his job. When the two have their chance to take a ride in a posh car during a shooting, Jeanette slams on the throttle and the two friends take off. Their aimless journey takes them to a fashionable winter sports’ hotel, where Jeanette reserves a name under “The Countess of Monte Christo”. Everything’s going dandy; no one suspects a thing. That is, until two impostors, Rumowski and “The Baron” take residence in the same hotel.