Hand-Picked Alternatives for Fans of Back of the Man: Cult Guide

Dir: Reginald Barker

Mercedes Murphy and her partner, Slick Barney, run a saloon and dance hall in the tough town of Paradise, Nevada. While Mercedes is a hard-nosed businesswoman, she has a soft spot for her sister Olive, with whom she lives. One day a preacher, Rev. McGregor, who is determined to "reform" Paradise, sets up his church right next to the saloon. Mercedes is at first opposed to the reverend, but is eventually won over by his sermons and closes the dance hall. However, she soon discovers that Olive's "virtue" may no longer be so virtuous--and she suspects that the minister might be responsible for this.

Dir: Reginald Barker

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

A stagecoach robber falls in love with a saloon girl. However, she falls for a pastor, who converts her; she marries him. The robber is so impressed by this that he decides to turn over a new leaf. However, a shady gambler sets his sights on the former saloon girl, and the robber has to protect her from his advances.

Dir: Reginald Barker

After his wife dies in childbirth, mountaineer Jim Grimsby names his newborn daughter Bill, and raises her as a boy. Remaining a boy in name only, however, Bill soon wants to style her hair and wear the latest fashions. She soon develops a crush on the new sheriff, Waldo Whittier. Appalled at the prospect of his "son" marrying Waldo, Jim decides to test the sheriff's grit, and so, believing that Waldo will be too frightened to come after him, he robs a casino. The sheriff does pursue, however, and, further impressing Jim, Bill pulls a rifle on Waldo to protect her father. Now certain of the sheriff's manliness, and convinced that his daughter has not forgotten how to act like a man, Jim returns the casino's money and agrees to let Bill and Waldo continue their courtship.

Dir: Reginald Barker

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

An American sailor falls in love with a fisherman's daughter and convinces her that Jesus is more powerful than the gods who have cursed her.

Dir: Reginald Barker

The Devil, in the guise of a human, meets a young couple who remark upon looking at a Renaissance painting of a martyr that Evil could never triumph over Good. The Devil, taking this as a challenge, decides to bring about the couple's downfall.

Dir: Reginald Barker

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

A parson, in love with a girl who is betrothed to a rich Count in her family's hope of partaking in the Count's fortune, uses his pulpit in a scheme to shame the family into allowing the girl to break the engagement and marry him instead.

Dir: Reginald Barker

Denton rides into Yellow Ridge with a money-belt filled after years of toil in the mines beyond the desert. The local gamblers covet the fortune but fail to get Steve to try the roulette table until the enticer, Trixie, comes to exercise her charms on him. He blindly follows her lead and is watching the wheel with stern stare when a telegram is received. He asks the woman to read it. She lies when she says it contains good news, for it tells of his mother's critical illness. In the morning Steve awakes to find his belt is empty. In his feverish search through his pockets, he comes upon the telegram. As the truth dawns he goes to the telegraph office to send home a wire. The operator hands him the news that his mother has died. Wild with rage, he shoots up the town and drives away with Trixie lying limp over his horse before him. His heart is now filled with hate for all women and Trixie becomes his slave in a community where he tolerates only the scum of the section. Across the desert comes a pack train of Mississippi farmers who have left their fertile valleys to hunt for gold. Their water is all but gone and their stock is fagged. Their leaders plead with Steve for aid, but the white race may expect nothing from him. Back to the wailing women and children go the despondent leaders. Mary Jane, a waif among them, is not cowed by the story they tell, and by night she goes to repeat their please to the harsh white man. He looks upon her as another victim to share Trixie's lot, but her innocent, fearless attitude toward him makes him hesitate. Meanwhile, his men have carried off the women of the train. As the men pursue and bloodshed is in the air, Steve yields to the little girl and trades the safety of those people for his rich mine, leaves his wealth to his followers and guides the strangers out of the desert.

Dir: Reginald Barker

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

Christ takes on the form of a pacifist count to end a senseless war.

Dir: Reginald Barker

Billy, who is the little son of Captain Andrews, commandant of a western army post, has one ambition in life, and that is to become a good soldier. This he has confided to his friend, Sergeant Hogan, and the sergeant takes pains to foster the idea. He really needs all his courage to face a new situation that has come up in his life. His father is going to marry again. While he knows absolutely nothing about his prospective stepmother, he can conceive of no one worthy of taking the place of his beloved mother, who lies in the little cemetery outside the fort. In spite of Billy, however, the wedding takes place. The newcomer tries in every way to win over the little fellow, but beyond politeness his friendship stops. Soon after the wedding his father is called at the head of his regiment to quell an uprising of the Sioux Indians, forty miles away. He leaves his bride in little Billy's care. The distant trouble is but a ruse on the part of Lame Bear, the Indian chief, and now, with his picked braves, he swoops down on the weakened garrison at the fort. The defenders of the fort are so few in number that it is but a question of time before they must surrender. Billy, bearing in mind the admonition of his father to take care of his stepmother, takes her away from the fort by a secret passage and hides her in a cave in the hills. Suddenly he observes the wavering men at the stockade. Bethinking himself of his bugle and hoping to lead the Indians to believe that his father and the regiment are returning, he blows the signal to charge from a distant knoll outside the fort. The outcome of that bugle call saves the garrison and draws Billy and his stepmother together.

Dir: Reginald Barker

When San Francisco social butterfly Octavia Van Ness falls into decline, on a physician's advice her grandfather, mining king Ezra Whitney, takes her to Alaska, hoping that she will regain health and find a mate more suitable than the gilded youths of the California city. In the far north they meet "Chuck" Hemingway, whom the girl supposes to be a "sourdough," but whom the grandfather recognizes as a young collegian from the east. When she rejects Hemingway's advances, the caveman instinct wakens within him. The day before she is to return to civilization, Hemingway kidnaps her, enters into a forced marriage with her, and installs her in his cabin--where she suffers no more harm than if she were with her mother. Six months later, Octavia is now well and strong and rejoices in housework, but is still antagonist to Chuck. When Kitty Malloy, the queen of the Arctic Cabaret, suddenly arrives in the city, Octavia's jealousy is excited. She realizes his true worth and for the first time loves her husband. They return to California, where they are united with Octavia's family.