Cinematic Discoveries Resonating with the Themes of Bonds of Love: Cult Guide

Dir: Reginald Barker

In war-torn Europe, Colonel Damien seizes an enemy town, then to persuade the defeated soldiers to give up their ill-gotten money, the Emir of Balkania, commander of the supporting native troops, threatens to unleash his men on the women who are staying in the town abbey. After giving the captured men a payment deadline, Damien collapses in a chair and falls asleep. As he sleeps, the emir goes to the abbey where Sylvia, the colonel's daughter, is staying in secret. He offers to free the other women in exchange for her sexual favors, but after complying with his demands, she shoots and kills him. When Damien discovers the emir's corpse, he orders the assassin shot, and covered in a veil, Sylvia is promptly executed. After her body is identified, the colonel is overcome with grief. Finally, he wakes up in his armchair and, realizing the tragedy was only a dream, orders his troops to leave the town in peace.

Dir: Reginald Barker

A young Italian immigrant girl, uneducated and superstitious, finds an abandoned baby on the stairs of her tenement, with a note attached explaining the baby is illegitimate. A young newspaper reporter, whom the girl knows from waiting on him at the restaurant where she works, reads the note for her. But the police arrest her, at no evidence whatsoever other than possession of the baby, for kidnapping. She refuses to tell them the baby was abandoned and fatherless, because she was herself, and confesses, in order to save the baby from being branded a bastard, that she stole it. The reporter goes to the jail and elicits the truth from her. And then proposes to her and adopts the baby.

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

Dir: Reginald Barker

A poor ditch-digger, Pietro Massena, lovingly raises his motherless daughter Rosina. Phil Griswold, in order to throw a party to celebrate his expected inheritance, induces his friend Robbins to rob the flower shop where he works. After the inheritance goes to Phil's brother William, who refuses Phil money to return to the flower shop, Phil abducts William's daughter Dorothy and sends a "Black Hand" ransom demand to throw suspicion onto Pietro, who earlier frightened Dorothy when he delivered a Christmas tree to William's house. William drives into the slums looking for Pietro and accidentally runs down Rosina. The grieving Pietro goes to the flower shop on Christmas morning to buy a rose for Rosina's coffin and is accused of the kidnapping, because Phil arranged to have a man known by "the sign of the rose" pick up the ransom money there. Pietro threatens to kill the arresting detective so that he can return to his "bambino," when William arrives with news that Dorothy has been found. William offers Pietro compensation, but he refuses and sorrowfully returns home.

Dir: Reginald Barker

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

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

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

Doris Wingate is featured in a Sunday magazine supplement as the most snobbish girl in America. In reality, Doris is lovable and eager for friends, and it is her Aunt Priscilla who deliberately cultivates the false impression. Realizing this, her uncle ships Doris off to a co-educational college, but unfortunately, her reputation preceded her and she is snubbed by the other students. However, in Robert Lee Hollister, a fellow student who takes in washing to earn his tuition, and his little helper Dolly Temple, Doris finds true friends. Entering into a business partnership with her new friends, Doris spends her happiest hours sorting linen until her Aunt Priscilla arrives to break up the match. Doris defies her aunt and elopes with Bob, thus shattering her image as a snob, and the two settle down to a happy life together.

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

Dir: Reginald Barker

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

"Honest Jim" Martin is elected by popular vote to the U.S. Senate in the fight against the Railway Land-Grab Bill. When Jim goes to Washington his mother accompanies him. At the first reception of the season, Jim is introduced to Harriet Lane, the most dangerous woman in the Capital, by Wm. Landers, chief of the secret railway lobby. Harriet is a lobbyist and is supposed to win the votes of the senators for the Land-Grab Bill. Jim becomes fascinated by Harriet's wit and beauty and she and Landers set a snare for him. Harriet writes him that she is in great trouble and asks him to call at her hotel. In his sympathy for her he places his arm about her and she leans against him, burying her face against his shoulders. As she does this she manages to loosen her hair, which falls in a tangled mass over her shoulders. She also disarranged her waist, giving evidence of a struggle having taken place between herself and Jim. While they are in this position Landers snaps their picture from a curtained doorway where he is concealed. He then confronts Jim and tells him that the negative will be given the newspapers if Jim doesn't give them his vote. Jim leaves the hotel in no pleasant frame of mind, first telling Harriet of his scorn for her. Harriet, who has become friendly with Jim's mother, is very unhappy because of the part she has been obliged to play and when Mother Martin calls on her that afternoon, bringing her a pie which she has baked herself for Harriet's birthday, Harriet determines to get the negatives from Landers and destroy them. To do this, she goes to Lander's office that night and unable to open the safe, because Landers has anticipated some such move on her part and changed the combination, she telephones to police headquarters and asks them to send up an expert to open the safe. This is done and while Harriet and the expert are still in the office (Harriet with the negatives in her hand) Landers enters and snatches the negatives from her. He has drawn his pistol and as he stands there talking with the safe expert, Harriet snatches the pistol from his hand and shoots the negatives to pieces as they lay on Lander's desk. The next day she sends them to Jim with a note telling him that all the evidence the lobby had against him is enclosed and asking him in future to try to live up to his mother's belief in him.

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

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

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.