təwˈɔːɹdz ðɪ ˈɛnd ʌvðə nˈaɪntiːnhˈʌndɹɪd twˈɛnti z, mˈeɪ mˈuːvd ɐwˈeɪ fɹʌm ɐdvˈɛntʃɚ fˈɪlmz ænd pɹədˈuːst mˈoːɹ ɹˈiːəlɪst wˈɜːks, nˈoʊɾəbəl ɐmˌʌŋ ðˌɛm ðə wˈɜːld wˈɔːɹ aɪ lˈʌvtɹˈaɪæŋɡəl hˈaɪmkeɪɚ ðə ɹᵻtˈɜːn hˈoʊm nˈaɪntiːnhˈʌndɹɪd twˈɛnti ˈeɪt ænd ðə kəntˈɛmpɚɹˌɛɹi θɹˈɪlɚɹ ˈæsfɔlt nˈaɪntiːnhˈʌndɹɪd twˈɛnti nˈaɪn.
Towards the end of the 1920s, May moved away from adventure films and produced more realist works, notable among them the World War I love-triangle Heimkehr (The Return Home) (1928) and the contemporary thriller Asphalt (1929).