Underground Favorites Parallel to the Artistry of A Million, More o...

Dir: Reggie Morris

A fascinating piece of cinema that shares thematic elements.

Dir: Tefft Johnson

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

Helen King, a devoted wife and mother, spends most of her time in the care of her little son, Jack. Her husband, John, although loving her dearly, feels slighted because she does not care to become a part of the social life of which he is a prominent member, and when the temptress comes, in the person of Marcia Wilbur, an old school chum of Helen's is susceptible to her charms. Marcia is a born coquette and begins her heart conquering campaign «n Doctor Bright, the King's friend and physician, whom she leads on, only to cast aside when he proposes. Marcia, unable to restrain her propensity to flirt, exercises all her arts on John. Helen hears the whole town is gossiping about the intimacy of her husband and Marcia, but laughs at the idea. John gives way to his infatuation and the two elope. Helen, returning home, finds Jack in a high fever and phones Dr. Bright. The runaway couple meet the doctor on his way to the King home, at a turn in the road, and veering to one side are forced over an embankment. Dr. Bright finds John but slightly hurt, while Marcia is terribly wounded in the head. The doctor takes them to the King home. Helen blames Marcia, but when the doctor announces the accident has robbed her of her reason, hatred turns to pity and she insists on nursing her old friend back to health. A delicate operation is performed; it is successful, and Marcia recovers. Marcia accidentally overturns a lamp and sets fire to the bed clothing. John and Dr. Bright rush to their assistance, rescuing Marcia just in time, and later the two fall in love, while John is happily reunited with his wife.

Dir: Edgar Jones

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

Dir: Tefft Johnson

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

Innocent, after being cast off by her wealthy uncle, wanders into the forest and is found by Andre, the guiding force of a roving band. The man takes her prisoner against her will, but she is liberated by Rosella, who loves Andre herself. In escaping, Innocent meets Standish Driscoll, son of her wealthy uncle, who immediately falls in love with her. But Andre overtakes her and brings her back to the camp. It is there that she gives the first evidence of her marvelous dancing abilities. Another escape brings Innocent to the city. There she cultivates her talents and soon, under the name of Moner Moyer, she achieves fame. Standish Driscoll still loves her and wants to marry her, but the girl finally realizes that she loves the big gypsy of the forests. So she forsakes her career and returns to the hills.

Dir: Ralph Ince

A fascinating piece of cinema that shares thematic elements.

Dir: Tefft Johnson

A visual fragment from the archive: The thematic resonance of Love's Law perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Tefft Johnson

Every night, Madge Dow of the Middleport Orphanage, imagines herself in the lighted room in the house across the way, being tucked into bed by a beautiful mother. After Madge and her friend Spotty escape to visit settlement worker Letty Thompson, and Letty encourages them to investigate the house, they find a grumpy, gout-ridden old Major there, still irritated over his daughter's marriage years ago without his consent. After the Major explodes when Spotty raids the jam jars, Madge takes the Major for a wheel-chair ride, but loses control on a hill and runs away, leaving the Major soaked in a storm. Fortunately, Dick Washburn, a physician engaged to Letty, rescues the Major and cures his gout. Because Dick does not know his parentage, Letty's mother will not allow their marriage. When Madge endears herself to the Major, however, he reveals that Dick is his grandson. When Dick and Letty marry, Madge lives with them in the Major's home.

Dir: Lloyd Ingraham

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

While walking along the street one day, Arthur P. Hampton, an impoverished young doctor, and his chums, Stub Masters and Johnny Stokes, are persuaded to part with their last remaining funds by tag day solicitor Mary Jane Smith, with whom the doctor promptly falls in love. Doc's friends then hit upon a get-rich-quick scheme. Knowing that his Uncle George has promised a large sum of money upon his nephew's marriage, they persuade Doc to send out fake wedding invitations naming Mary Jane as the blushing bride. Uncle George, elated at the good news, writes to Mary Jane's aunt, Angelica Burns, an old sweetheart, to invite Mary Jane and Angelica to be his guests on an ocean voyage. Meanwhile, Mary Jane pays a visit to the doctor's office and, upon seeing the wedding invitations, becomes so flustered that she trips and sprains her ankle. Doc comes to her rescue and then begs her to pose as his wife. She agrees, but at ship-side, Stub and Johnnie confess all to Uncle George, who flies into a rage until Doc announces that he and Mary Jane have chosen a wedding at sea.

Dir: Maurice Campbell

Carver Endicott, a young sophisticate, is rejected by his fiancée for being too foppish and dull. When she feigns an interest in his father, Carver attempts to disgrace his family name by working as a farmhand and later as a busboy in a hotel. However, the newspapers only praise him for his self-sacrificing principles; and finding that he cannot bring shame to the family through menial labor, he takes up with a notorious actress. But when this maneuver also fails, he returns to his former fiancée, who has no further complaint about his being an inexperienced dullard.

Dir: Tefft Johnson

A fascinating piece of cinema that shares thematic elements.