The Definitive Watchlist Seeking the Same Brilliance as Black Frida...

Dir: Lloyd B. Carleton

"The Idler" is Mark Cross, a young man of good family, who in a wild fit of daredeviltry has emigrated from London to the far west. John Harding, also well-born of wealthy parents, but disinherited, and a poor clerk, is also seeking his fortune in the gold fields. One day Harding receives a letter from a firm of London solicitors informing him that his father has died and that he is now Sir John Harding, Bart. He sets out at once to make his preparations for his return to civilization and to take up the station in life that is rightfully his. But that very day he becomes involved in a quarrel with Felix Strong, the young brother of a miner named Simeon Strong, and Felix is shot accidentally during the dispute. Harding is accused of murder, but flees to England in time to escape the vengeance of a posse, headed by Simeon Strong, who is determined to avenge his brother. Years after in London, Harding, who has married the girl both he and Cross were in love with before they emigrated, comes face to face with Cross and Strong, who have become partners and have "struck it rich." In order to win Lady Harding for his own Cross allows the evil side of his nature to get the upper hand of him and plots to have Strong kill Sir John in a duel. Strong slaps Harding in the face in the foyer of the opera house in order that he may involve him in "an affair of honor" and avenge his brother's death by killing Harding. Cross in the meantime lures Lady Harding to his rooms where Sir John comes to seek her. She hides in Mark Cross's bedroom, but reveals herself at a dramatic moment when Harding, shouting "Curse you, I'll kill you," springs at Cross's throat. Her splendid nature, as shown in her denunciation of both men, one as a husband without faith in his wife and the other as the would-be destroyer of a home, overcomes them with shame. They shake hands and Mark, parting forever with Lady Harding, orders his valet to pack his things for he is off "on a long trail."

Dir: Lloyd B. Carleton

Westie Phillips, the son of poor and simple Quaker folk, notices a woman marooned on a rock with the tide rising. He rescues her and ever this memory of her remains with him. To Martha Gorham, the daughter of a millionaire, it is only an incident to be remembered for a short time with gratitude toward the boy. In love with Martha Gorham is Harry Arnold, a man considerably older, whose one aim in life now seems to be the winning of her, despite her refusal. Her father, Silas Gorham, is fond of Arnold and favors his suit, although he does not urge his daughter to marry. Arnold invites Martha and her father to go on a cruise with him on his yacht and she consents. Arnold has arranged with his captain to have it appear that the yacht is wrecked near an uncharted island, so he can take Martha to this spot alone and after a month or so the captain is to return and pick them up. About the same time Westie Phillips decides to go out into the world and make his way. He is shanghaied aboard a vessel bound for the Orient and meets with such severe treatment that he manages to escape in Honolulu. It so happens that the Arnold yacht is in the vicinity, and one of the men becoming troublesome, the captain decides to put him ashore. Fate again brings Westie and Martha together, for he secures the sailor's place on board the yacht. He recognizes Martha, but she does not know him. Westie scents that Martha is in danger, and it is with a great deal of satisfaction that he sees Martha repulse the advances of Arnold. Then comes the time when the yacht is in the vicinity of the island. Arnold's plans work out nicely, as he gets Martha in a boat away from her father, but Westie, though he does not know exactly what is happening, senses that there is danger for the woman he loves and insists upon accompanying Arnold. The captain fells him with a blow. Gorham and the others take to the boats and Arnold and Martha are in a boat by themselves. Westie secures a boat and rows for the island. He hears a woman's screams and again comes to Martha's rescue. Then the three take up their life as they find it on the island. Arnold becomes almost crazed when he finds his plans foiled and offers Westie any amount of money if he will but move to the other side of the island. One night Arnold tries to kill the girl, and Westie again saves her. One day Westie and Martha sight a ship and manage to attract it. Before the boat arrives Westie and Martha recognize their love for each other, and their destiny is fulfilled.

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

Dir: Lloyd B. Carleton

After Enid and Jack Radnor, vacationing in the Virginia mountains, have a bitter quarrel, Enid meets Polly Mason and Martin Hale, who invite her to their cabin. There she discovers that something mysterious is happening in the mountains. When a train robbery occurs, the sheriff, believing that Martin is a member of the outlaw gang, demands his surrender. After many misadventures, Martin finally proves his innocence. Then Enid mysteriously disappears and is found unconscious at the edge of a cliff. Enid's mother comes to resolve her problems and recognizes Polly's father as an old sweetheart who quarreled with her many years before. Finally, Enid and Jack, after observing so many romantic separations, realize their deep love and are reconciled.

Dir: Lloyd B. Carleton

Charley Raymond, college athlete, is disowned by his father, has his clothes stolen by a hobo, assumes latter's garments and the nickname of "Chuck" and is thrown off a freight train. He meets and loves Mary Bowser, ranch-man's daughter and wins a race against a fast horse. Mary is kidnapped by a jealous suitor. Charley pursues on foot and rescues her. Later, he returns home, breaks the world sprinting record in the Olympic Games and wins Mary.

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

Dir: Lloyd B. Carleton

Satan has added his last touches to the mortal and feels the "Man" is ready to navigate the road of life. Satan returns to Hell, discovering the spirits have created another mortal. Satan declares this mortal a "Woman."

Dir: Lloyd B. Carleton

Hazel Rogers, a young girl eighteen years old and heiress in her own right to millions through the death of her father, falls in love with Hamilton Powers, the District Attorney. Powers is cold, calculating, indifferent, wrapped up in his law; attentive to Hazel, but in love with Christine, a trained nurse and a school friend of Hazel's and she, too loves Powers. Hazel's mother, Mrs. Albert Rogers, lives with Hazel. Dr. Joel Samson, the famous surgeon, forty-two years old, warm-hearted, upright, respected, loves Hazel, who is his ward. He is guardian of her millions until her twenty-first birthday, and in the event of her death, previous to her twenty-first birthday, sole heir to her estate. Hazel eventually marries Powers, very much against the wish of Dr. Samson, with the usual result. Powers failing in his request to Dr. Samson to obtain the management of Hazel's money, becomes morbid, indifferent, cold to Hazel and after a few months of married life he leaves her in her magnificent home on Long Island and goes to New York City to better practice his law. Mrs. Preston and Morgan Keith, two hangers-on, are at this time visiting Hazel in her home. One day Powers comes down from town and sees Hazel have a scene. Hazel, desperate, goes out alone for a spin in her auto. Driving too fast, she meets with an accident and is thrown violently out. Her back is fractured. She is brought home a helpless, hopeless invalid. Her suffering is intense. Dr. Neighbor attends Hazel. Christine nurses her. One night in her agony she begs Dr. Neighbor to put her out of her misery. Christine, heartbroken, and almost distracted with love and agony for her suffering friend, administers an overdose of morphine. Hazel never awakens. Dr. Neighbor finds the hypo needle which Christine has left on the table. He puts it in his pocket. He knows. Powers' dislike of Dr. Neighbor causes him to investigate, and the doctor is accused. Dr. Neighbor keeps silent. At the trial Christine confesses all and Dr. Neighbor is freed. Dr. Neighbor later gives his life for a patient.

A visual fragment from the archive: The thematic resonance of Nine and Three-Fifths Seconds perfectly mirrors the editorial trajectory of our deep dive.

Dir: Lloyd B. Carleton

August and Hilda are recent immigrants who cannot understand the American emphasis on weddings, because in their country, couples never get married. Fearing that he will be arrested for living with a woman who is not his wife, August stows away on a ship and dies in a wreck at sea. Afterward, Hilda tries to commit suicide, but rich Esther Grail saves her, and then adopts her infant son Stephen. Years later, Esther tells him the circumstances of his birth, and so Stephen goes on a crusade for the rights of illegitimate children. He is soon elected governor, but during his inaugural speech, a fanatic tries to shoot him. Hilda, however, not having seen Stephen for years but deciding to come hear him speak out for the underprivileged, sees the madman and, jumping in front of her son before the bullet hits him, dies in his place.

Dir: Lloyd B. Carleton

Bessie Gale, known in New York night life as "the unattainable," is pursued by Henry Morton, wealthy clubman. Morton follows Bessie across the continent, traveling with the theatrical company of which she is a member. In crossing the Sierra Nevada Mountains the girl is particularly impressed with the scenery, and at a way station where the train stops for a few moments Bessie alights and strolls so far away from the depot she is unable to return in time to board the train when it proceeds. She finds shelter for the night at Robert Goodman's home, intending to rejoin her company when the next train comes along the following day. The receipt of a telegram discharging her for missing her train changes her plans, and Bessie settles down at the Goodman home for a stay of indefinite duration. Robert Goodman's mother takes a great fancy to Bessie and Robert falls in love with her. Finally they are married, but the longing for her old life is never quite stifled within her and Bessie rejoices when she is sent to New York by her husband to negotiate the sale of his formula for preventing disease among sheep that is just then devastating the flocks throughout the country. Bessie collects an immense check and contracts for royalties that make Robert a millionaire, and is about to start home when she accidentally meets some of her former associates. The call of the stage is renewed with resistless vigor when Bessie is offered an engagement by her former manager. Morton hears of her presence in town and renews his efforts to attain "the unattainable." Bessie writes to her husband that she is going back to the stage. Robert senses trouble for her and comes to New York without notifying her. He finds her dining with Morton under conditions any husband would resent, and when Morton is unable to defend himself from the physical retribution Robert rains upon him Morton shoots the husband in the coward's target, his back. The tragedy restores Bessie to a realization of her perfidy and folly; Morton acquires a streak of unheard of manliness and when Robert is taken to the hospital the clubman offers his blood for transfusion to Robert's veins that the life of his victim may be saved. The blood test reveals that Morton's blood would poison the stricken Robert and then Bessie is accepted as a volunteer to give her blood to save her husband's life, an operation that is entirely successful.

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

Dir: Lloyd B. Carleton

James Fordham returns home after a 6 months' absence to find that his wife has left him for another man. She returns, asking for forgiveness, but dies shortly thereafter. James swears to avenge her death and sets out to find the man who has wronged her. After changing his name, he discovers that the young girl with whom he is falling in love is engaged to the low fellow who stole his wife. He wins out by proving her fiancé is involved in a crooked business deal.

Dir: Lloyd B. Carleton

John Oakhurst is a chivalrous gambler, and his friendship for Sandy Morton forms the motif of the story. Sandy Morton was given to excessive drink, which through the connivance of the duchess, the queen--of the gambling houses--resulted in the loss of his birthright. Though his father had maintained a search for him covering a number of years, he had never been able to locate him. Circumstances so shaped themselves that Oakhurst innocently, and believing Sandy dead, took the place of the long-lost son in his father's affection and household, and these circumstances reached a climax when Sandy's true identity was revealed at the psychological moment by the duchess herself. So upright has Oakhurst been in all his dealings with the eider Morton that as he turns to leave the room, the old man calls him back and announces that henceforth the name under which he will operate his banking business will be Alex, Morton and Sons and Oakhurst. Thus do the troubles of the two men cement their years of friendship into a life-long association.