The Global Archive For Devotees of A Heart in Pawn: Cult Guide

Dir: William Worthington

Japanese-American law student Suki Iota falls in love with his guardian's niece Rei Oaki, who has just arrived from Japan to cultivate her singing voice. After Suki goes East to law school, Rei, thinking Suki wants an American girl, gets Tom Kirby, the son of the Chinatown boss, to teach her American ways of dress and behavior. On his return, Suki is displeased with Rei's change and believes her to be Tom's girl when he sees them celebrating the Chinese New Year. Suki is appointed assistant district attorney and, with the whole city watching because of anonymous death threats sent to him, he steadfastly prosecutes a murder case until Tom confesses to him. To protect Rei, Suki removes himself from the case. Labeled a coward and a traitor to justice, Suki remains silent until Tom publicly confesses. Now regarded as a hero, Suki defends Tom. Rei confesses she never loved Tom, and her romance with Suki begins anew.

Dir: William Worthington

When Sasamoto commits treason during the Great War to pay off gambling debts, his twin brother Yamashito assumes his identity and tracks him down.

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

Dir: William Worthington

A wild man and genius becomes a master painter's disciple, but loses his divine gift when he finds love.

Dir: William Worthington

A young man trades places with a lookalike boxer and learns to fight for what he wants.

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

Dir: William Worthington

An opium smuggler is marked for murder in this story of the Chinese Mafia.

Dir: William Worthington

The Japanese Prince Maiyo is in London to avenge the death of his father who years earlier committed hara-kiri because he had been financially ruined by an English swindler. The Prince warns his friend, the Duke of Devenham, that the Count de la Mar is attempting to seduce the Duke's bored American wife, and then is told by his servant Soto that the Count is the man who killed his father. During a foggy night, the Count, planning to elope with the Duchess, is killed in a taxi with the sword that the Prince's father used to kill himself. Although the American sister of the Duke, Penelope Morse, who loves the Prince, pleads with him to leave before being arrested, he will not perform such a cowardly act. After Soto confesses murdering the Count because he wronged his daughter years ago, the Prince is freed, but because of the racial barrier, he bids a sad farewell to Penelope and leaves.

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

Dir: William Worthington

When Gregory Van Houten went to the country to recuperate, he intended to remain only a few weeks and then return to plunge into the swirl of city gaieties. But when Van Houten returned he brought with him a country-girl wife and set upon himself the seal of new duties and obligations. Jean Haskins was the daughter of Farmer Haskins, who owned the place where Van Houten boarded. She was a simple child of nature, trustful and devoted to the new ideals of happiness that Van Houten brought into her young life. Farmer Haskins warned the young folks that they were storing trouble for themselves in marrying; he told them that their lives had been so different that they would eventually find that they could not continue happily. Nevertheless, they married and returned to town happy. At the first social function they attended, Gregory realized that his wife wasn't prepared for the butterfly life. One of Gregory's club friends, James Hanley, saw in the young bride a conquest. His attentions to Jean soon centered Gregory's suspicions upon them; meanwhile, Gregory turned to a woman in his own set for companionship. Upon an incident that looked worse than it really was, Gregory based cause for a divorce and won his case. Then he married the other woman, a society butterfly. The shock completely changed Jean's good, wholesome nature; she turned into a viper bent upon revenging herself upon the man who had violated his obligation and made a mockery of her love. Hanley gained his point, but in possessing himself of Jean gained more of companionship than her love as recompense. Years later Gregory and Jeanmet again and her beauty fired his heart with desire. Jean connived to reap her vengeance. When Hanley was called away Jean refused to accompany him, setting up as an excuse that a few months' separation would lead them to a better understanding of their position. Gregory takes advantage of a free field and Jean coyly leads him on. Gregory neglected the wife he married when he divorced Jean and turned all his attentions to Jean. Suddenly Hanley appeared upon the scene, and Jean made a way to a greater revenge than she had planned. The men engaged in a personal encounter and when Hanley seemed to be getting the better of the fight, Jean fired a revolver at the struggling forms and killed Hanley. The sudden outcome of the combat benumbed Gregory's senses. Jean placed the revolver in his hand just as the police entered and they found Gregory bending over the prostrate form of his rival. In the trial that ensued Jean swore that Gregory fired the shot, and her vengeance is almost completed by the verdict of the jury that Gregory was guilty of deliberate murder. But when the court guard goes to bring the prisoner to hear his doom, they find him dead upon the cot of his cell and Jean is left to contemplate the sad ending of her youthful romance.

Dir: William Worthington

Jeffrey Wall, the dissipated grandson of a wealthy man, requests that a farewell party be given in his honor before he is disinherited. During the wild banquet, a Mexican dancer assaults Mary Drew and then shoots a man, but suspicion is cast on Jeffrey. At the death of her father, Mary is called home to her little village on the Mexican border but is followed by the lecherous dancer, who soon becomes the head of a gang of bandits. Jeffrey traces him and learns that the outlaws have taken control of a small rancho, shot its owner and kidnapped Mary. Jeffrey visits the rancho disguised as a ghost, and as the outlaws are fleeing in terror, the sheriff and his men arrive and arrest them all. Wall, Sr., pleased with the improvements in his son's character, comes West to bless the marriage of Jeffrey and Mary.

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

Dir: William Worthington

Stuart Adams, the advance-agent for a traveling burlesque troupe, arrives in Weston, Illinois, his hometown, to publicize the coming show, "The Girl and the Garter". The Purity League, led by banker James Richards, the father of Stuart's sweetheart Hazel, attempts to stop it from opening. After kissing Hazel in public - thus outraging the League members - Stuart builds curiosity about the show by having the newspaper print Richards' admission that he viewed it in New York "to see how shocking it was". He also attaches a banner which advertises the show to Hazel's roadster during a Purity League parade. After Stuart challenges Richards to a debate, Stuart helps detective Vera Vincent, whom he met on the train, capture two crooks trying to rob Richards' bank. During the debate, Stuart, knowing that the show has been canceled, offers to end the bickering by withdrawing the show. Richards then insists that Stuart, who plans to meet Hazel at the train station to elope, come to dinner. Fortunately for Stuart, Hazel had been locked in her room by her aunt, and is still at the house.

Dir: William Worthington

A fascinating piece of cinema that shares thematic elements.