Ilse Lahn
- Producer
- 4 on MovieCove
What are Ilse Lahn's films like?
Across a limited sample of 4 MovieCove titles with a thematic analysis, their films lean Morality and Self.
What they feel like to watch
Ironic 0 · Wry 0 · Earnest 4
Light 1 · Serious 3 · Dark 0
Grounded 1 · Stylized 2 · Heightened 1
Gentle 1 · Charged 3 · Intense 0
Steady 2 · Shifting 2 · Whiplash 0
Straight-faced 4 · Some laughs 0 · Funny 0
Slow burn 1 · Even-paced 3 · Relentless 0
A split, not a type: Casual 3 · Engaged 0 · Full focus 1
Easy watch 2 · Affecting 2 · Heavy 0
A split, not a type: Resolved 3 · Open-ended 0 · Ambiguous 1
Moods and endings
AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.
Where can I watch Ilse Lahn's films?
As of October 24, 2026, 3 of their 4 MovieCove titles stream on a subscription or free service, most on Tubi (3).
Subscription and free streaming for Ilse Lahn's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.
Filmography
4 credits, 4 with a MovieCove page.

Daughter of Dr. Jekyll(1957)
Midcredits score: 18th percentile of all films
Murder Is My Beat(1955)
Midcredits score: 41st percentile of all films
The Neanderthal Man(1953)
Midcredits score: 6th percentile of all films
The Man from Planet X(1951)
Midcredits score: 31st percentile of all films
Career shape
Across a limited sample of 4 MovieCove titles from 1951 to 1957.
Counts over their MovieCove titles; a title counts in every role they held on it.
How do Ilse Lahn's films land?
Their typical MovieCove film has a Midcredits score in the 25th percentile, the median of all 4; across a limited sample of 4 films with reception data, the typical film sits in the 34th percentile for acclaim.
- 25th to 49th2
- Below 25th2
Shape of the crowd
None of their 4 titles divides audiences: 3 are Broadly Agreed.
- Broadly Agreed3
- Mixed1
Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.
Who does Ilse Lahn work with?
People who share at least 2 of Ilse Lahn's MovieCove titles, grouped by what they did on them; Edgar G. Ulmer shares the most, 3.
Directors
- Edgar G. UlmerShared titles: Daughter of Dr. Jekyll (1957), Murder Is My Beat (1955), The Man from Planet X (1951)See all 3 shared titles with Edgar G. Ulmer

Writers
- Jack PollexfenShared titles: Daughter of Dr. Jekyll (1957), The Neanderthal Man (1953), The Man from Planet X (1951)See all 3 shared titles with Jack Pollexfen
- Aubrey WisbergShared titles: Murder Is My Beat (1955), The Neanderthal Man (1953), The Man from Planet X (1951)See all 3 shared titles with Aubrey Wisberg
Actors
- Robert ShayneShared titles: Murder Is My Beat (1955), The Neanderthal Man (1953)See all 2 shared titles with Robert Shayne

Composers and editors
- Fred R. Feitshans Jr.Shared titles: Murder Is My Beat (1955), The Neanderthal Man (1953), The Man from Planet X (1951)See all 3 shared titles with Fred R. Feitshans Jr.
- Albert GlasserShared titles: Murder Is My Beat (1955), The Neanderthal Man (1953)See all 2 shared titles with Albert Glasser



