Editor's Top Picks Sharing the Atmosphere of Comin' Thro' the Rye: ...

Dir: Cecil M. Hepworth

A girl wins her rival's fiancé with a fake marriage announcement.

Dir: Robert N. Bradbury

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

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: Cecil M. Hepworth

Gerard, the eldest son of a wealthy family, is destined by his father for the church, although his own inclinations lie elsewhere. The young fellow is a born artist. His first success comes when he reads of the announcement of a public competition in which a big prize is to be paid for the best picture. It is at this period that he meets Margaret and her aged father. He falls in love with Margaret, and their fast-growing affection is viewed with great concern by the burgomaster of Rotterdam who is keeping in his possession some valuable parchments which relate to Margaret's fortune. Gerard's affection is discovered by his father, who sternly reprimands him, bidding him to think of the vocation in life that he has to fill. Gerard defies his father and family, and goes to his patroness, who, on hearing his story, tells him to put aside all ideas of priesthood for the present, and that she will pay for him to go to Rome and study art. Gerard gratefully accepts the offer, but at the same time he determines that before he leaves, he will wed Margaret secretly. In the meantime his father has been to the burgomaster, attempting to put the law in force against his disobedient son. The burgomaster, fearing for himself if the union between Gerard and Margaret should come to pass, promises his aid. Accordingly Gerard is torn from the arms of his newly-made bride at the very foot of the altar. He is imprisoned in the burgomaster's house. But thanks to the efforts of Margaret and his sister and crippled brother, he makes his escape. While escaping he accidentally discloses a trapdoor which conceals the secret hiding-place of the burgomaster's papers, and thinking that some of them will be useful to him in his work as an artist, he fills his pockets full. He finds on examination that one of them is the actual document relating to Margaret's fortune, and he keeps this, giving the others to Margaret to bury in the garden. He then sets out for Rome and on his way falls in with Denys of Burgundy, a Burgundian soldier of fortune. A friendship springs up between the gentle artist and the rough soldier. Then follows the attempted murder of the two men in the inn by the rascally landlord and his two accomplices, from which Gerard and his companion emerge victorious. Gerard arrives at Rome, and continues his studies. In the meantime his brothers, who have always been jealous of him, discover his whereabouts, and with the connivance of the burgomaster, send a letter to him to the effect that Margaret is dead. This information drives Gerard to such a state of despair that when his life is attempted by an assassin who is bribed to kill him by Princess Cloelia, whose overtures he has rejected. He offers no resistance, but the assassin overcome with remorse drops his dagger and flees from the scene. A year elapses, and Gerard, now a priest, returns to his own country. He is summoned to the death-bed of an old hermit and when he dies. Gerard takes up his life in the old man's cave. His wife comes to the spot to pray, and recognizes Gerard by a birthmark on his hand. The unfortunate man then learns for the first time that he has been deceived, that his wife is alive and that he has a son five years old. When he realizes the extent of the treacherous trick that has been played upon him, he bursts in upon his family and denounces his brothers. The rage of his father knows no bounds, and he is with difficulty restrained from slaying the son who has wrecked his elder brother's life. He next visits the burgomaster, and by the aid of the incriminating parchment, which he has kept all these years, forces him to restore Margaret's fortune. This, however, is the most he can do, and, after taking an agonizing farewell of his wife and child, he is forced to go out in the world alone, for there is no power that can absolve him from the duties of his holy calling, nor is it possible for a man to mix again with the world over whose head the sacred words have been spoken, "Thou art a priest forever, after the order of Melchisedech."

Dir: William Parke

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

Bruce Wendell, the son of West Virginia coal mine owner James Wendell, graduates from West Point and prepares to lead a fighting unit to the front during World War I. As his father lies dying, however, he convinces Bruce to remain at home and guard the mine. Bruce's fiancée Ann Blair assumes that he is a coward and breaks off their engagement, but her brother Bobbie remains Bruce's loyal friend. Meyer, a German agent, persuades railroad president Parrish to refuse to transport Wendell's coal, but when Bruce adamantly refuses to close the mine, the spy's men decide to blow it up. While Ann is being abducted by Meyer, Bobbie is buried in an explosion at the mine. Bruce rescues Bobbie and then sends a plea to Lieutenant Parrish to rescue Ann. Meyer and his gang are captured and Ann renews her vow of love to Bruce.

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: Cecil M. Hepworth

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

A rich man's son loves a nature girl loved by a gypsy who is really her half brother.

Dir: Edward LeSaint

When famous opera singer Elinore Duane undergoes an operation on her throat, she has a series of ether-induced visions. In one, she is transported to ancient Rome where she appears as a much-admired woman in love with Paul, a young heretic, and at odds with Lutor, the high priest. To save her love, she poisons Lutor with her ring. After several other visions which involve variations on this love triangle, Elinore awakens to discover that Lutor is actually her doctor, Sascha Jaccard, and that Paul is the son of a friend who has come to visit the recovering prima donna.

Dir: Eduardo Notari

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

A crime drama in the Gennariello-series. The police detective in Naples that is confronted with modern gangsters and crime events.

Dir: Harley Knoles

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.