Essential Cult Cinema Mirroring the Impact of A Cafe in Cairo: Cult...

Dir: Chester Withey

Polly, a young woman on the run from three unwanted suitors, checks into a hotel using an assumed name. This subterfuge leads a Secret Service agent to mistake her for a German spy, which in turn leads her to become unwittingly involved with real German spies.

Dir: Chester Withey

A visual fragment from the archive: The thematic resonance of The Teeth of the Tiger perfectly mirrors the editorial trajectory of our deep dive.

Living quietly under the assumed name Paul Sernine, reformed gentleman crook Arsene Lupin is summoned to protect his invalid, wealthy friend Henry Forbes. Despite the watchfulness of Paul and Alexandre Mazeroux, a fellow criminal turned detective, Forbes is murdered. French detective Jabot and the New York detective force have many suspects including Paul, Marie Forbes, the dead man's widow who is suspected on the basis of an apple found with an imprint of her teeth on it, Gordon Savage, her lover, and Florence Chandler, Forbes' secretary and beneficiary under his will. After a series of traps, false arrests, chases through secret passageways, and an escape from handcuffs, Paul deduces that the true criminal is Doctor Varney, who cared for Forbes. Paul prevents Varney from blowing up the house, and at the same time wins the affections of Florence.

Dir: Edgar Jones

A mail-order bride arrives at a Maine lumber camp but doesn't like her prospective husband.

Dir: Chester Withey

A visual fragment from the archive: The thematic resonance of In the River perfectly mirrors the editorial trajectory of our deep dive.

Lydia Bolton is only a child when financial difficulties overtake her father. His fellow townsmen do not give him support and he goes to the wall. Andrew Bolton goes to prison an embezzler, cursed by everyone. Lydia is taken in charge by an uncle and the old Bolton mansion, once a proud landmark, is left to neglect. Time has not tempered the disposition of the community when Lydia Bolton comes back, her identity hidden in the name of Lydia Orr. She opens her purse first at a church festival, but her generosity is rewarded only by disparaging remarks and open hints of ulterior motives. She lives at the same boarding house as the young minister and tongues of scandal are at once loosed. Then she purchases the old Bolton mansion, her childhood home, and offers to buy at unreasonably high prices all antique furniture in the town. There is a rush to get all the girl's money, but a few decent folks seek to protect her and at once the town is split in two hostile camps. The minister has a sweetheart and she is jealous of Lydia, which adds to the complexity of her troubles. And in the midst of it all, Bolton, his prison term ended, steals back to town. Lydia and a few loyal friends seek to hide his identity, for a time, at least, but the senile old man eludes them and goes to the country store and proclaims himself. All the pent-up hatred against him now is turned against the daughter and the townspeople utterly blind to all she has done for them and the town, rush to the old Bolton home to wreck it and lynch Bolton. The old man, aided by the minister and Lydia's sweetheart, are striving to protect the girl when Bolton falls dead. This tragedy disperses the mob and finally Lydia's enemies come to see her and her efforts in their true light.

Dir: Chester Withey

Society girl Octavia rejects her fiancé, Teddy Westlake, and marries the elderly Colonel Beaupree, a wealthy rancher. When the colonel dies, Octavia discovers that he has left her only the ranch out West. When she goes to Texas to claim her inheritance, she discovers that Westlake has become manager of the ranch. Unknown to Octavia, even the ranch does not belong to her, but Westlake keeps this, and the fact that he still loves her, secret until Jose' Alvarez, the cruel overseer, tries to take advantage of her. In the end, Octavia realizes her love for Teddy and chases after him until he admits his feelings for her.

Dir: Chester Withey

A visual fragment from the archive: The thematic resonance of An Alabaster Box perfectly mirrors the editorial trajectory of our deep dive.

Genevieve Rutherford Hale, a pampered youngest child, reads an advertisement for women to work on farms to increase food production during World War I. After having her modiste make silk overalls which Genevieve models on Russian ballet attire, she arrives at the Hubbard ranch in New York State with her chauffeur, maid, and pet dog, to be a "farmerette." While Genevieve finds the chores difficult and the other girls unfriendly, Bobbie, the youngest Hubbard, discovers officer training camp to be equally discouraging. Although he is tempted to desert, Bobbie only leaves for one night to see his home again. He finds Genevieve crying in a potato patch, and together they resolve to do their patriotic duty. When a prying neighbor, seeing them together, tells the Hubbards that Genevieve was with a soldier, Genevieve remains silent about Bobbie's identity, and is banished from the ranch. After Bobbie gets a furlough and explains matters, the Hubbards apologize to Genevieve. Bobby proposes, and they plan to marry when he returns from "over there."

Dir: Chester Withey

When Marie Callender is left a fortune by a wealthy old admirer on the condition that she marry the man she loves, Marie targets Ernest Lismore but is too shy to ask him to marry her. Instead, Marie disguises herself as an elderly woman of considerable wealth and offers to bail Ernest out of his impending bankruptcy in exchange for marriage, with the understanding that if Ernest ever falls in love with another woman she will grant him a divorce. Then Marie disguises herself as June Dayne in order to make her husband fall in love with her. She succeeds, and when Ernest confesses his love for another woman, Marie discards her disguise and Ernest discovers that the woman with whom he is in love is his own wife.

Dir: Chester Withey

A visual fragment from the archive: The thematic resonance of Madame Bo-Peep perfectly mirrors the editorial trajectory of our deep dive.

Senator John Coburn's son Steve, who associates more with gamblers, criminals and drug addicts than with his father's congressional cronies, impulsively murders his mistress' new lover. The senator tries to use his influence to have Steve acquitted, but all of the evidence firmly and correctly implicates him, and so the jury prepares to find Steve guilty without much deliberation. Before the verdict can be announced, however, Steve's mother rises in court to make an impassioned plea for her son. As a result, moved by the mother's grief, the jurors choose to ignore all of the evidence, and declare that Steve is not guilty.

Dir: Edward LeSaint

When famous opera singer Elinore Duane undergoes an operation on her throat, she has a series of ether-induced visions. In one, she is transported to ancient Rome where she appears as a much-admired woman in love with Paul, a young heretic, and at odds with Lutor, the high priest. To save her love, she poisons Lutor with her ring. After several other visions which involve variations on this love triangle, Elinore awakens to discover that Lutor is actually her doctor, Sascha Jaccard, and that Paul is the son of a friend who has come to visit the recovering prima donna.

Dir: Chester Withey

A young couple gets married in secret because her family objects to the match. To escape the family, the couple goes into hiding.