Sex in Chains () is a 1928 silent film directed by William Dieterle. Plot The film opens with Franz Sommer (Dieterle) and his newlywed wife, Helene (Mary Johnson). They are going through hard times, and Sommer is without steady employment, partly due to his honest-to-a-fault nature. Helene takes a job selling cigars and cigarettes at a restaurant. When a patron advances on Helene and ignores Sommer's warning to leave her alone, Sommer pushes him away. He falls and hits his head, dying some days later. Sommer is arrested and sentenced to three years in prison. Sommer is kept in a large cell with four other people, one of whom, Steinau (Gunnar Tolnæs), is soon acquitted and promises Sommer to help his wife while he's incarcerated. This he does by giving her a better job at his business and offering her his friendship while they both work to get Sommer out. For much of the remainder of the film, the men's sexual frustration from being separated from women is the focus, with scenes such as making nude sculptures from breadcrumbs and water and fighting for a woman's handkerchief smuggled in during visitation. At the same time, there is a strong homoerotic undercurrent throughout, though only hinted at. The fifth act brings changes to both Helene and Sommer's stories. Helene, delirious from Sommer's absence, goes to Steinau one night after madly trying to gain entrance to the prison, and sleeps with him. Meanwhile, Sommer's relationship with fellow inmate Alfred Marquis (Hans Heinrich von Twardowski) begins to move from subtext to foreground. At the prison church service, Sommer and Marquis sit next to each other, and as the preacher tells them to "Yield not to temptation", Marquis is writing Franz and Alfred in the cover of his Bible. He shows it to Sommer, who does not respond. That night, Sommer, seeing Marquis completely absorbed in thought, asks him what he is thinking about. Marquis asks if his nonresponse means he hates him and holds out his hand. Sommer takes it, and begins moving into Marquis's bed as the scene fades to an exterior night shot of the prison. The next day, Helene arranges with the warden for a private visit with Sommer, where she intends to tell him about Steinau, but she does not. Nor does Sommer say anything. The short meeting is awkward and distant. Later, Steinau makes his presentation calling for