The Recommended Vault Parallel to the Artistry of A Perfect Crime: ...

Dir: Allan Dwan

Sunny Wiggins is regarded as worthless by the other members of his family, who have risen to the social station where they are snubbed by the best people. The morning of the day the play begins his sister is preparing to entertain a party of butterflies, among whom is the mentally lacking beanpole she intends to marry. Sunny is in bed with as queer a lot of associates as could be collected. He has recruited his following from the bread line; two of them are in bed with him while the others are sleeping on the carpet, and one has even gone to rest in the bathtub. Not too willingly do all hands go to the shower, but it is a wash or no breakfast. Downstairs goes the motley array and into the dining room. Sunny thinks it fine that such a spread has been prepared for his guests and there is little left when sister enters with her guests. Of course, Sis at once tells father and Sunny is called to book. Dismissing his own guests, he finds that he has only one friend in the place, one of his sister's guests, and he doesn't know her name. She thinks Sunny is splendid and when his father has sent him out to try his sociological theories along the Bowery, she wishes him luck. There in a cheap lodging house Sunny teaches the derelicts to laugh, and with such success that an eminent specialist drafts him to cure a millionaire grouch of dyspepsia. In the rich home of the dyspeptic he finds that the girl is the millionaire's daughter. She enters heartily into his plans but an aged 'cellist, whose favorite music is Chopin's "Funeral March," exerts more influence in the household than he. But when father has discovered his daughter and the supposed physician in fond embrace there is a fight, which ends with father a prisoner in his room, to be cured by starvation. Meanwhile a broker, whose offer of marriage has been refused by the daughter, is plotting to ruin her father in Wall Street. How Sunny thwarts the attempt, cures the grouch, becomes his son-in-law and partner and thereby is reinstated in the good graces of his own family, is the story this comedy tells.

Dir: Allan Dwan

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

Known as "Wildflower," Letty Roberts meets Arnold Boyd, a wealthy man who is weary of life in the city. Arnold thinks that Letty is merely a charming child, however, his playboy brother Gerald is attracted to her and charms her into eloping with him. Arnold catches up with the couple just after their wedding, and after a fight with Gerald, takes Letty away to the Boyd family home in New York. He introduces her as his own wife because, he says, he wants to save her reputation. Even Letty's parents do not know to which brother she is married. Letty's stay in the mansion opens her eyes to the world outside of her rural environment and eventually she realizes that while Arnold appears to be hard and uncaring, it is really he, not Gerald, whose feelings for her are the deepest. When she realizes Gerald's true character, Letty decides that she will be happier with Arnold.

Dir: Allan Dwan

With the opening of the story Richelieu pardons the Duke of Orleans and all his followers in the Languedoc revolt, save one. The exception is Adrien de Mauprat, because he seized a French town without his leader's orders. Richelieu advises him to lead his troops against the Spaniards and seek honorable death in battle. Julie, Richelieu's ward, loves de Mauprat, but notwithstanding her entreaties, the Cardinal is relentless; de Mauprat courts death on the battlefield. But now that he seeks death, it shuns him; instead of a soldier's grave, he wins glory. Julie has another admirer, Haradas, the King's favorite. Aware of de Mauprat's place in Julie's affections, he sets himself to bring discredit upon his rival. Later, Julie, at the King's request, attends court. She makes a deep impression upon the weak-minded, fickle monarch. A year after the departure of de Mauprat, Baradas and his followers conspire to murder Richelieu and seize the throne of France. At this critical time de Mauprat returns, famous in battle, sad of heart and loathing Richelieu. Thus he becomes a ready member of the conspirators. However, Richelieu hears of his arrival and of the conspiracy and has him arrested. In the meantime, Julie has returned from court and again appeals for de Mauprat's life. Thus, when de Mauprat is ushered into the Cardinal's presence, instead of hearing his death sentence, he is informed that he will marry Julie the following day. Hearing of this the King is violently angry: Julie is summoned to appear at court. Once there she is virtually held prisoner and her marriage is declared invalid. The false Barad is convinces de Mauprat that he has been tricked by Richelieu. De Mauprat swears vengeance and again joins the conspirators, all of whom sign a scroll addressed to the Spaniards offering to deliver France into their hands. From here the story develops with plot and counterplot. How de Mauprat discovers his tragic mistake in thinking the Cardinal has double-crossed him, how he manages, through a heroic effort, to save the old man's life, how de Mauprat falls into the hands of the King and is only saved by a master stroke of diplomacy on Richelieu's part, the death of the scheming Baradas and the final achievement of happiness for the young lovers, Julie and de Mauprat, makes up the essential points of the story.

Dir: Allan Dwan

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

Dorothy Raleigh is a high-spirited Southern beauty who has been brought up by her father, Col. Raleigh, an unreconstructed Kentuckian, to have nothing to do with the townspeople of the little village of Norwalk, just outside of Louisville. She has no other companions than the old negro servants, her animal pets and her books. One day there comes into her life by chance a young millionaire gambler named Forbes Stewart. He makes love to her and asks the Colonel for her hand. Indignant at his presumption, the Colonel orders him from the house. But the young people elope. When Dorothy meets her husband's friends she is grievously disappointed. He determines, rather than cause her unhappiness. to change his mode of living, and give up his old friends. But a detective who knows something of his past, tries to blackmail him. His defiance leads to his arrest, and he is sentenced to a year in the penitentiary. Dorothy is loyal to him at first but when another woman enters her home and seemingly proves that she is Stewart's wife by an earlier marriage, she goes back to her father. The stern old man, however, has disowned her, and she is compelled to seek shelter in a cabin with her old negro mammy. When Stewart is released from the penitentiary he hastens to his home to find his wife. Instead he finds this other woman, an old flame who has taken this method to win him back again. He repudiates her, however, and hurries to Norwalk to see the Colonel and demand Dorothy. The Colonel refuses to tell her whereabouts, but from an old servant Stewart learns the truth. Dorothy in the meantime has been led to believe her baby illegitimate, and the villagers, glad to see the proud name of the Raleighs dragged in the dust, make her life miserable. She is about to kill herself when Stewart arrives. The outcome reunite the lovers and brings a change in the heart of the father that is supremely satisfying.

Dir: Allan Dwan

Drusilla Ives, a young Quaker girl living on an isolated island, leaves to become the servant of the spendthrift Duke of Guisenberry in London, who is the Lord of her village. She finds that she is attracted to the bustling city's night life, and when the duke discovers that she is a fine dancer, he helps her turn professional. In short order she becomes known as Diana Valrose, the city's favorite dancer. Unfortunately, her strict father and her Quaker fiancee, John Christison, back on the island find out about her newfound fame and career and strongly disapprove--her father places a curse on her and her boyfriend marries her sister Faith. Complications ensue.

Dir: Allan Dwan

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

After the death of her father, Betty Lockwood goes to Graystone Gables, the estate where he had been the caretaker, to spend some time alone there. She meets David Chandler, Graystone's owner, who is attracted to her and tells her to come back whenever she wants to. Betty's mother soon remarries, but her new stepfather is not the same kind of man that her father was; she finds herself the subject of some vicious gossip begun by her mother's new husband when he spots her at the estate with David. Complications ensue.

Dir: Allan Dwan

When Colonel Archer, the military post commanding officer, refuses to loan money to his second-in-command, Captain Waring, Waring gets the money from Brent Lindsay of the nearby mining town, in exchange for his note. Both Waring and Lindsay court Floyd Bingham, the daughter of a retired colonel, but Floyd learns that Lindsay is involved with Queen, a dance hall girl. Following the urging of her father, Floyd marries Archer, who has two children left to him by his dying sister, whom Floyd loves. When Lindsay continues his attentions to Floyd, Archer quarrels with her and leaves to go hunting. Floyd goes walking in the woods with Lindsay and his kiss is photographed by Waring, who attempts to blackmail Lindsay. When Lindsay is found dead and Archer, who suspects Floyd, is arrested, the men from the mining town almost lynch Archer, but Queen, who witnessed the murder, clears him.

Dir: Allan Dwan

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

Winthrop Clavering a mystery writer, is continually ridiculed for the fiction of the crimes he depicts, so he decides to solve a case himself. To that end, he determines to find the slayer of Pedro Alvarez, who whispered before dying that his assailant was a woman. At the City Refuge for Homeless Girls, Clavering obtains the assistance of Margaret Holt, the sister of Victor Holt, the district attorney. Margaret, it is revealed, was abducted by Juanita, a member of a gang of white slavers led by Alvarez. After escaping from a brothel, Margaret became Alvarez' stenographer, hoping to gather secret information on his gang. While searching for evidence, Margaret was surprised by Alvarez, whom she killed. Finally, Clavering captures the gang, clears Margaret, and encourages her romance with cub reporter Jack Howell.

Dir: Allan Dwan

A wealthy girl's banished mother returns as the seamstress at her daughter's wedding.

Dir: Allan Dwan

Moll O'Hara, a child of the gutter, grows up with the horrible example of her drunken mother before her, and when, reaching womanhood, the girl loses her mother she keeps as a terrible souvenir the mother's craving for liquor, thrust upon the child when helpless to defend itself. But, save for the love of drinking and of fighting, Moll keeps to "the straight road" and the other temptations of her squalid life leave her unscathed. One day Moll is attacked by Liz, a disreputable woman in Bill Hubbell's saloon; the two women fight and are arrested. On their way past the settlement, Ruth Thompson a wealthy young settlement worker and her fiancé, Douglas Ames, see the pitiful procession, but Ruth insists that Moll and the others be brought into the settlement until she has the affair investigated. They come in and with them Bill Hubbell, the handsome and athletic saloon-keeper, and when he tells the true story of Moll's being first attacked by Liz. Moll is released, at the solicitation of Ruth Thompson. When the others have gone, Ruth pleads with Moll to quit drinking, and aided by the pleading of Mike Finnerty, a little crippled boy, Moll at last gives in, the callous indifference of her nature vanishes, and she becomes a different creature. Mrs. Finnerty, made kindly by Moll's love for little Mike, takes her home with her and a new life begins for Moll. Bill Hubbell, the saloon-keeper, instead of being offended by Moll's abstaining from his wares, encourages her, and a friendship springs up between the two that soon ripens into romance. But Douglas Ames, though engaged to Ruth, with the day set for their wedding, has determined to make a conquest of Moll, and one day, just as she is leaving Ruth, having told of her engagement to Bill, Ames follows and catches her in his arms. Ruth comes upon them, and Ames treacherously throws the fault on Moll, pretending that she had made advances to him, which he was repelling. Naturally, Ruth believes the man she loves in preference to the girl from the gutter, but at last promises the frantic Moll that she will come to her rooms at Finnerty's at 6 o'clock the following evening. After Moll leaves, Ames follows, as Moll knew he would, and begs that he be allowed to visit her. She coquettes with him and promises to be at home to him at six next evening, determined that Ruth shall find him and realize his vileness and the truth of Moll's story. But Bill Hubbell sees and overhears the appointment, and the next night when Ames calls, Bill, instead of Ruth, bursts into the room and sees Ames in the act of embracing Moll. In vain Moll tries to tell Bill the trap she had set for Ames. He laughs scornfully, and when Ruth enters tells her what he saw. Ames sneaks away, and both Ruth and Bill leave, believing Moll guilty. The frenzied and desperate Moll seizes the whiskey Ames had brought her and starts to drink, determined to go back to the gutter, when her despairing eyes fall on the sweet pictured face of the Madonna, a gift from Ruth. Throwing away the liquor, Moll falls on her knees and prays for succor and vindication. How her prayer is answered, her enemy crushed, her innocence established and her love and faith restored is developed in the climax of this drama.