Rudi, who’s been quite the ladies’ man, finally wants to settle down and marry Hilde. So as to not get into a touchy situation with all his many women, he plans to bring them all together the night before his wedding. While sitting alone in his apartment and burning all his old photos and love letters, he notices a woman in the garden. She assets, that she’s hiding from a stubborn admirer and he stupidly offers her to come in … and then it all begins! First, his wife-to-be Hilde shows up, who wants to spend the night before their wedding together. While Rudi tries to hide the unknown woman in his bedroom, a hotel detective shows up and claims he’s following a thief.

Endstation offers the American viewer tantalizing glimpses of busy, bustling mid-1930s Vienna. Otherwise, this minor yarn of an amorous streetcar conductor is strictly formula material. The film benefits from the star power of Paul Horbiger, resplendently garbed in an elaborate conductor's uniform. Also worth noting is the performance of Maria Andergest as the woebegone hatmaker whose fate is inextricably linked with hero Horbiger. Incidentally though the direction is credited with one E. W. Emo, Paul Horbiger actually called most of the shots on Endstation.

The happiest one should be selected from 500 married couples to move a marriage-hostile American millionnaire's daughter to the marriage. - Shallow and turbulent love banter with some tumultuous and funny climaxes.

The impoverished Count Lerchenau works under the name Rudi Lindt as a chauffeur. Because he is so well-loved by women, he lost his last position. His former servant Franz has not abandoned him in his time of need and the servant keeps trying to find a rich bride for the former Count. In the Grand Hotel, where the Count is supposed to be finding a suitable mate, he instead flirts with the attractive Alice. In order to get a job with the employer Ottokar Frühwirt, Rudi uses Count Lerchenau as a reference. But then the employer wants to speak with Lerchenau and Franz has to play the role of the Count. Alice, it turns out, is the employer's niece. When she finds out that Rudi is only a chauffeur, she wants nothing to do with him.

Story of the trials and tribulations of a German who emigrates to the US during the Great Depression.

Vienna, 1951. Ferdinand Godai is a professor of operetta at the Academy. Disguised as a porter for a costume party, he ends up in a drunken mood at the South Station. There he meets Anton Lischka, a genuine Viennese porter with a fiery temper, who asks him for his collegial help. Ferdinand falls in love with the sweet Gabi, who turns out to be a new colleague at the Academy. A series of adverse circumstances force him to continue his complicated double life as a fake porter and a genuine professor. Lischka, who becomes increasingly annoyed by his "colleague's" clumsiness, is also drawn into the confusion. Only Gabi sees through the deception and even contributes to its escalation in order to teach her beloved professor-porter a lesson in womanizing.

Retired Hofrat Geiger discovers by chance that he has an illegitimate daughter. He goes to visit her, but is turned away, even though she is in financial difficulties (her inn is very run-down and has no customers). To obtain Austrian citizenship, she marries the Hofrat—planned only on paper—but he is responsible for processing her naturalization and delays it to ensure she stays close to him. At the same time, behind her back, he ensures that her inn is renovated.

The forester Auer is found killed on a Sunday in the forest, and the police begins a feverish search for the culprit. Only pastor Gruber already knows who it is. It is Hannes Reyer, son of the richest farmer in the region, who has confessed the act of murder to him. Gruber, however, is bound to his obligation to secrecy. But when the young Ernst Nortinger is arrested under suspicion for murder, he knows what he has to do and relinquishes his priesthood in order to report Hannes to the police. But things don’t get so far, as Hannes dies in an accident during an altercation with the priest. Nonetheless, Gruber does not return to his office. In quiescence, he wants to find out whether he still can handle the burden of the priesthood. Senior pastor Bachmayer however is convinced that he will return.