The future communist journalist Julius Fučík had a stimulating childhood and youth in a working-class environment, when his moral maturity was already showing. The authors of the film recall that the young Julek was a star of the suburban operetta scene, and in three episodes they depict him both in his early childhood and already at the gymnasium, when the outbreak of the World War shaped his determination.

The miner Dařbuján has a lot of children that he cannot support and another one has just been born. He needs to find a godfather and three are offered: God, the Devil and Death. Dařbuján chooses Death because he is the only one who is fair, he treats the poor and the rich equally. When Dařbuján is considering what to do to provide for his family, Death advises him to get a doctorate and immediately offers him help in his new trade. If Death stands at the feet of a sick person, Dařbuján will heal him within three days. However, if he stands at the head, the sick person is finished and Dařbuján must not interfere in his trade...

“A bored housewife, a husband who married her for show, and a stupid boy who is full of himself because he is dating a Swiss woman.” The words of Inspector Tůma sound like they’re from a European melodrama, but in fact they come from a Czechoslovak crime story. A pair of detectives, counterfeit medicine, the high-society setting of a Karlovy Vary hotel, and Oldřich Nový as the aging hotel manager Kraus.

The Emperor's mismanagement of his country is provoking some in his court to plot to overthrow him. He feels successful, at least, when he discovers the legendary Golem, which he believes can protect him and even cure his imaginary illnesses but, when he disappears while on a bender, his kindly baker, who looks just like him, is mistaken for him, and begins to put things in order. However, the conspirators, not to be outdone, determine to bring the Golem back to life to do their bidding.