Essential Cult Cinema Drawn from the Same DNA as Bred in Old Kentuc...

Dir: Edward Dillon

"Waffles," the waitress at "Coffee Dan's" hash-house, is selected by Bert Gallagher and Clara Johnstone, a pair of crooks, to be represented as a missing heiress whose story they have read about in the papers. "Waffles" herself believes the story, as she was orphaned early and remembers little of her childhood, and by adroit coaching is able to convince the estate's none too bright lawyers of the validity of her claim. With this unlimited money, poor little "Waffles" nevertheless has only three desires: to buy the little restaurant for her old benefactor, Shorty Olson, to publish the music written by her lover, Carl Miller, a young, eccentric, absent-minded musical genius, and to adopt the baby that a Mrs. O'Shaughnessy is too poor to care for. But "Waffles" establishes Shorty Olson as chef in her mansion, and Miller is a frequent caller until Mrs. Johnstone in secret convinces him that it is his duty to give up the girl who is destined for high society. Without explaining to "Waffles," he discontinues his visits. Mrs. Johnstone is thus able to induce "Waffles" to promise to marry the crook, Gallagher, but just before the ceremony old Shorty Olson overhears a dispute between Gallagher and a gangster over loot, and thus discovers Gallagher's real character. Shorty Olson is caught eavesdropping, and the crooks shut him into the garage. Carl Miller has been mooning at the house of his lost love, and sees Shorty Olson put into the garage. He goes over and knocks out the gangster on guard and the liberated Shorty goes for the police and Carl goes for the marriage service, which has just begun. "Waffles" sees his face at the window and faints. She is revived and the service is begun again when Carl forces his way in and battles the bridegroom. The police arrive just in time, and the crooks go to jail. The lawyer comes with the real heiress, and "Waffles" goes back to the hash house. For the crooks' arrest the three are given a reward of $1,500, so Shorty Olson buys "Coffee Dan's." Carl publishes his music, and "Waffles" adopts Mrs. O'Shaughnessy's baby.

Dir: Edward Dillon

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

Traveling on a Pullman train are two strangers who, except for a difference in hair color, bear a striking resemblance to each other. Horace Barney, the heir to a fortune, is on his way to a mental sanitarium, accompanied by his unscrupulous guardian Maurice Claypool and Claypool's accomplices, Dr. Wallace and Thomas Farrel. Jack Trevor, an automobile salesman, is substituted for Barney when the train crashes and Barney is killed. When Trevor awakens from his unconscious state, he finds himself in a mansion and addressed as Barney. He falls in love with Helen Townsend, Barney's cousin who is next in line for the inheritance. Trevor realizes the fraud and sets out to save the estate for Helen. Claypool, who wants to marry Helen, tries to declare Trevor insane and commit him to an institution. A series of fights, chases, and misunderstandings ensue, but Trevor finally forces a confession from Claypool and wins both Helen and the fortune.

Dir: Edward Dillon

While vacationing with his father Edward at a Palm Beach hotel, George Welston becomes smitten with Eve Pendleton, the daughter of Edward's business rival Judson. After George prevents Pendleton from getting an option on a deal by racing in his car with his father's $100,000 deposit, Pendleton favors Eve's other suitor, Arthur Trask, whose gentlemanly manner conceals his intent to rob Eve and her wealthy friends. When George sees Trask climb into Eve's window, he follows and is apprehended by a detective, who reluctantly releases George in response to Eve's pleas. Later, Trask binds, gags and robs society belle Marian Trevor. After Trask's dropped cigarette starts a fire, George rescues Marian, who upon reviving, accuses him of theft, arson and abduction. George's father puts up $100,000 needed for an important deal for George's bail, then George chases Trask, who has stolen the $600,000 which Pendleton put up for the same deal. After a fight, George apprehends Trask and races to court before the bail money is forfeited. Pendleton and Welston become partners, while George and Eve marry.

Dir: Edward Dillon

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

In a mock fraternity initiation, a group of Yale students haze Paul Browning for tattling. When he learns that the leader of the group, oarsman Buck Simmons, is also winning the favor of Aida Courtlandt, the dean's niece, the jealous Browning and gambler Burton Hampdon, to whom Browning owes money, attempt to disgrace Buck so he will not be allowed to participate in the upcoming Yale-Harvard race. After they fail to lure Buck to bed with a girl, Browning takes Aida to a roadhouse so that Buck will have to break training rules to go there. When the coach, suspicious about the roadhouse incident, finds a letter planted on Buck about a deal for him to throw the race, he suspends Buck, but with Aida's influence, the dean straightens matters out. After Yale wins a close race, Browning shoots at Buck, who then trounces him. Proclaimed captain of the next year's team, Buck becomes engaged to Aida.

Dir: Wilfred Lucas

Brian O'Farrell (Snowy Baker), is an English 'new chum' who takes a job at an Australian cattle station. He is teased by station hands because of his appearance (including spats and a monocle) but he soon impresses them with his skills at riding and boxing. The station manager, John MacDonald (Wilfred Lucas), takes O'Farrell to Sydney to meet his daughter Edith (Kathleen Key) who is working in the slums. Edith is kidnapped by criminals after witnessing a crime but O'Farrell rescues her. It is later revealed he is the owner of the station.

Dir: Edward Dillon

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

Mr. Goode, a wealthy old gentleman, takes his wife and daughter, Evelina, out for a spin in their automobile, but throwing in the wrong lever the machine backs into the side of the road and burns up. They continue their journey on foot. Meanwhile, Foxy Monte, a polished crook, has stolen a beautiful car that has been left standing at the curb in a nearby town, and as he whizzes by he sees the Goode family. He stops and offers them a lift. Of course, they gladly accept. And while the ride is continued he persuades Mr. Goode to buy the roadster. Mr. Goode is so easy, in fact, that Monte determines to impose on him again. When Goode is called out of town on business he makes the trip in his new machine. As an alarm has been sent out to the police by the original owner of the car he is immediately apprehended and thrown into jail. His family, believing he has been detained on business, make no inquiry about him, but go on entertaining Foxy Monte, who has come into their circle disguised by full beard and another alias. Ever making the best of his condition, Goode has the jail refurnished and otherwise contributes to the comfort of the inmates. Upon leaving at expiration of his sentence, he invites the jailbirds to come and visit him at the first opportunity. Shifty Ed and his best girl, Shorty Sal, come to the Goode home to pay that visit just as Mr. Goode is entertaining a very fashionable house party, Monte in the number. Sal recognizes Monte, and he, realizing he is in danger, informs the hostess that Ed and Sal are notorious crooks. Then he persuades Evelina, whose hand has been refused him by Mr. Goode, to elope with him. It is at this point that Ed Ed and Sal make a big return for the kindness of Mr. Goode, and there is a thrilling finish.

Dir: Robert N. Bradbury

A simple country girl, brutally mistreated by her stepfather, awakens first the sympathy, then the love, of The Boy. The Spider, who lusts after The Girl, makes a bargain with the stepfather and takes her to the city where, kept prisoner, she is soon broken in health and spirit. Cast out and near death, she is taken in by The Boy. Following the demise of The Spider, The Boy takes her to church, where he prays, and after many hours she is restored to health.

Dir: Harley Knoles

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

Jim McDonald, the foreman of a shipbuilding plant and head of the labor union, strives to combat the anarchistic propaganda being put forth by Klimoff, the leader of a Bolshevik gang whose goal is to disrupt the country with strikes and anarchy. Despite McDonald's efforts, a strike is called, resulting in chaos. McDonald's child is knocked down by runaway horses abandoned by their striking driver, and dies. Mob scenes take place in America, as well as in Russia. Eventually, the unrest is quelled with an armistice called between Capital and Labor for a year, during which time wages are to be increased to reflect the cost of living, and leaders are to work out a common plan for their mutual advantage. The strikers now realize that they have been pawns of the Bolsheviks and call off the strike, agreeing to the plan.

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.

Dir: Edward Dillon

Ann Wharton, a rambunctious young student at the prestigious Bredwell Academy, is in trouble after a spoonful of cereal she flung at a classmate hits Mrs. Bredwell in the face. As she is being reprimanded in Mrs. Bredwell's office, a misunderstanding results in a member of the football team arriving at the office with Ann's clothes--she had left them behind when she changed into a football uniform so she could play football with the team--and Mrs. Bredwell writes to Ann's father notifying him that Ann is being expelled. She intercepts the letter, but her troubles are far from over.