"Almost half of the feature length-films produced after 1933 were comedies: romantic comedies, sophisticated comedies, family comedies, rustic comedies, and, above all, musical comedies.
Many carried on in the tradition of the drawing-room comedy, with infidelity, boredom, temptation, and the need for revenge as a driving force behind heated exchanges, compromising situations, and inevitable happy endings.
Comedies inspired by regional peculiarities and urban milieus offered formulaic stories of personal rivalries, family feuds, and neighborhood intrigues, and so forth.
Only the white-collar comedies, which continued in the tradition of the early 1930s, retained some awareness of social and economic problems through their focus on competent young women and, increasingly, insecure and resentful petty-bourgeois men...
At the same time, comedies provided a framework for expressing dissatisfaction with the available designs for living."
- excerpt from German National Cinema, by Sabine Hake