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Recommendations
Senior Film Conservator
The United States-born brilliance of Cold Feet offers a unique stylistic flair, the juxtaposition of stylistic flair and narrative makes it a Short outlier. Dive into this collection and find the spiritual successors to Al Christie's vision.
In the Pantheon of Short cinema, Cold Feet to elevate Short to the level of high art.
A wealthy father tries to discourage his daughter's taste for stories of the Mounted; her imagination conjures up the ideal lover as one who wears that red coat and whose slogan is "get your man." She arrives at her father's camp in the frozen North the victim of a frameup: her father had planned that his employees must discourage her in every manner possible. Consequently one is made up as an Indian guide, another as a "hefty" villain who must kidnap her, and the shortest of the group as a Mountie. The idea is if she sees him she will be disillusioned. The conspirators meet her train and she is guided over the trackless wastes to a broken-down shack half-buried in snow. A girl employee burlesques the forsaken, thoroughly-ruined heroine, and four other tricksters masquerade as wolves. A few hunters spying the "wolves" shoot with intent to kill, and a real bear enters the hut and scatters the plotters. The scheme works well, even with all these inconveniences, until a genuine Mountie appears on the scene and administers punishment to the arch-villain and his dwarf-like henchman. As a result the girl's romantic imagination vindicates her beau ideal. The two lovers are last seen standing chest-deep in the snow.
Based on the unique stylistic flair of Cold Feet, our vault has identified these titles as the most compelling follow-up experiences for fans of Short cinema:
Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
A young widow accidentally leaves her baby on the back seat of Billy's car, causing trouble between Billy and his jealous fiancée.
Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
After Eddie Plum discovers oil on the family ranch, he and his widowed mother move to the city where they meet Lord Burlington, a British fortune hunter. Burlington introduces the Plums to two socialites, Mrs. Van Zant and Betty, her daughter, and while Burlington woos Mrs. Plum, Eddie falls in love with Betty. A double wedding is arranged, but on the day of the ceremony, Mrs. Plum announces that the deed to her land has been stolen and without it she has no claim. Devastated by the news, Burlington requests a postponement and leaves. In spite of the apparent disaster, Eddie and Betty elope while Mrs. Plum, hurt by the Lord's sudden departure, plans to return to the country. Realizing that his affections for the widow are genuine, Burlington asks for her forgiveness and insists on the marriage. Her faith restored, Mrs. Plum reveals that the stolen documents were fakes, and that her oil millions are safe.
Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
Jay made the fatal error of trying to make his wife believe that he had all the money in the world.
Dir: Al Christie
At a choir festival, country girl Sally is kidded by traveling show people into believing that she has a grand opera career. The twist to the story of the ambitious girl going to the city and getting into the chorus comes when she proves to be a "boob," gets ejected from the theater, and is returned to the cows and chickens far from Broadway.
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Dir: Al Christie
Edith and Neal have just been divorced and the judge ordered Neal to pay $300 a week alimony. Neal tried to slip out of the country on the first alimony day, but was caught in an airplane chase. Then next alimony day he got what he thought was a brilliant idea. He left his clothes on the beach and pretended to have killed himself. So Edith took possession of the house and the judge started courting her. Then Neal was informed by his lawyer that he was legally dead and his wife automatically inherited everything and in order to get his money back he would have to marry her again. So Neal disguised himself with whiskers and had a couple of thugs accost Edith so he could play the hero with her. But in the sham fight one of the thugs apologized to Edith for hitting her husband so hard and spilled the beans generally. So Edith took him in the house and nursed him back to health and he proposed. After telling him how like her poor, dear, dead husband he was, she consented, and he had to wear a suit of her supposed dead husband's to get married in. The "guests" were all detectives, the minister himself being a detective. Just as Edith was about to say "I do," she said "I don't " instead and disclosed Neal's identity. The lawyer arrived just then and said in reading over the old will he found a clause saying that quarrels in the family would have to be patched up or the money would go to charity. So they were married all over again - by the judge of the divorce court. Motion Picture News, November 1, 1919
Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
A company of barnstormers goes on strike in the middle of a performance and a number of local amateurs are prevailed upon to furnish the show, which they do in more ways than one.
View DetailsAnalysis relative to Cold Feet
| Film Title | Atmosphere | Complexity | Similarity |
|---|---|---|---|
| Bobby's Baby | Surreal | Abstract | 94% Match |
| Somebody's Baby | Tense | Linear | 90% Match |
| Cupid's Hold-Up | Gothic | Dense | 98% Match |
| Mrs. Plum's Pudding | Gothic | Abstract | 88% Match |
| Bride and Gloomy | Ethereal | Dense | 98% Match |
This guide was algorithmically generated using the cinematic metadata of Al Christie's archive. Last updated: 6/6/2026.
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