The Recommended Vault Parallel to the Artistry of Daytime Wives: Cu...

Dir: Emile Chautard

The story of Nathan Hale, an American soldier and spy from his days as a teacher to his eventual capture and execution.

Dir: Emile Chautard

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

The productions from Thanhouser's mature period, 1915-1917, clearly show the advancements that set the stage for the first cinematic golden age, the 1920s. Such advances are evident in this surviving shortened version of "Fires of Youth": detailed character development by veteran actor Frederick Warde (and in a smaller role, at least in the shortened version, by Jeanne Eagels), mature editing techniques, special lighting effects, intelligent story development, realistic use of locations, fluid dialogue inter-titles, complex staging and access to better cameras with the defeat of the Patents Trust. Acclaimed French stage and film director Emile Chautard was brought from Éclair studio in France to direct.

Dir: Emile Chautard

A fascinating piece of cinema that shares thematic elements.

Dir: Emile Chautard

A visual fragment from the archive: The thematic resonance of Le roman d'un caissier perfectly mirrors the editorial trajectory of our deep dive.

Habitual unfaithful husband, Jack Freeman begins flirting with the coquettish Effie McKenzie, and so breaks up her marriage. Blanche Gordon, a friend of Jack's wife Louise, then comes to see Jack several times in order to plead with him to give up extramarital affairs and accept the responsibilities that go with being a husband. Blanche's husband Tom, however, misunderstands these meetings and insists on a separation. When Jack is murdered, all of the evidence implicates Tom. At the trial, though, Blanche tries to take the blame for the murder, thereby making Tom realize that she really does love him. Just as Tom is about to confess in order to save Blanche, Effie's husband breaks down and admits to being the killer, after which Tom and Blanche are reunited.

Dir: Emile Chautard

A reminiscence of her act ten years ago, recalling how she had secretly married Jean Roussel, flashes through the mind of Mathilda, daughter of Professor Stangerson, when her father asks her to become the wife of Robert Darzac, and how their wedding certificate could not be filed as her husband was imprisoned for passing counterfeit money. But she soon dismisses the horror upon the thought that Roussel must have been dead (she never having heard from or of him) and at last consents to the announcement of her betrothal to Darzac. Roussel, however, was still alive and soon learns of the engagement of Mathilda. By a subterfuge he manages to get a note to her telling her that he still loves her and begging her to flee with him to America. Mathilda was too frightened to answer, so Roussel in a jealous rage goes to the residence of Mathilda and hides in the yellow room occupied by her. Mathilda, who had been out walking with her father and fiancé, returned and feeling tired goes direct to her room, where she comes face to face with Roussel, who cautions her not to utter a word of alarm. But Mathilda was very much afraid and screams. In order to stop her, Roussel chokes her into unconsciousness and leaves her for dead. That evening as she joins her father he notices that she is unusually pale and advises her to retire early. She does and no sooner had the household retired when a shot comes from the room of Mathilda. Upon investigation the father finds that his daughter is lying unconscious upon the floor with a deep gash in her head, but no trace of her assailant could be found for the doors and windows were all locked from the inside. Professor Stangerson places the solving of the mystery in the hands of Rouletabille, a noted detective, and inspector Larson, They are given adjoining rooms in the Stangerson castle, and in his work of unraveling the enigma, Rouletabille finds under the bed of Mathilda a hair and a bloody handkerchief. Then Mathilda receives another letter from Roussel, which makes her change her room. At midnight the detective hears sounds coming from the yellow room, and stations Larson and the professor at both ends of the gallery, but no one is found. Previously the detective had caught a glimpse of a bearded man and has come to the conclusion that he must be in the house. He is also surprised to learn that Larson's hair is the color of that which he had found in Mathilda's boudoir. Larson, who was none other than Roussel, sends Mathilda another note and fearing the surveillance of Rouletabille, he invites the detective to supper in his room. He drugs the wine which is drunk by the detective, and as the latter is examining Larson's hair he notices a bad wound in the inspector's hand and then falls unconscious. Rouletabille's assistant brings him around, and after forcing from Larson the marriage certificate deliberately gives him a chance to escape. Then the detective gives Mathilda the unrecorded marriage document, the destruction of which means her freedom to marry Darzac. The mystery of the yellow room was cleared by the detective's remarkable deduction which shows that the deep gash in the head of Mathilda had been caused by a vision of her assailant and she, in a subconscious state, had discharged the revolver in self-defense and in falling had landed against a table, and the ugly wound in Larson's hand had been done when she had her encounter with him in the yellow room.

Dir: Emile Chautard

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

Henri is surrounded by fawning courtiers, who hide behind their smiles a deadly intent to do away with him at the first opportunity in favor of his brother, Duc d'Anjou. There is but one man who is honestly Henri's friend. This man is Chicot the Jester, a huge, handsome, fearless fellow, true as steel, to those who called him friend, deadly as venom to those who dared betray him or his sovereign, and the only person who may speak the truth to the king. Chicot the Jester is given an order by the king for the arrest of the gallant Count De Bussy, whose deserved popularity with the ladies of the court irritates the petulant Henri constantly. Chicot the Jester had the courage of his convictions; he was a man who dared. Knowing his friend De Bussy to be guiltless, he tore the court order into shreds and ordered De Bussy into retirement at the peaceful castle of Baron de Meridor, whose beautiful daughter, Diana Chicot, knew to be the adored one of De Bussy's heart. How De Bussy complied; how he was waylaid by the king's men within Diana's gates; how Diana nursed him secretly; how the uncouth Count de Monsoreau had the beauty kidnapped upon De Bussy's return to court; how De Monsoreau married her before Chicot, who had overheard the plot could interfere.

Dir: Emile Chautard

During an entertainment given by Engineer Dechelette, the former model Fanny Legrand comes across Jean Gaussin D'Armondy, who is studying law in Paris. On the eve of breaking away from her, he happens to hear that she is no other than the celebrated Sapho, Sapho called on Jean from time to time at his student's quarters and after nursing him through a long illness, she succeeds in deciding him to keep her with him. Sapho is happy in finding a small apartment where they shelter their love. One day the sculptor, Goudal, lifted a corner of the veil that hid Sapho's past. This made Jean jealous and Sapho appeased him by the surrender of her old letters. The sudden blaze of those innumerable papers caused the chimney of the house to catch fire. Neighbors rushed in and among the rescuers, Sapho recognized her father, the old driver. Ashamed, she dreaded that Jean's refined nature would take umbrage at the new stain. The initial frail link has been turned into a solid chain that nothing can break. At times Jean is indignant and revolts, but Sapho always gets the better of him. After some high words with Sapho, and on the invitation of his uncle Cesaire, Jean takes a trip to his home. As soon as he returns, Sapho regains her hold on him. Rosario Sanchez, a former friend of Sapho, whom she has made stewardess of her mansion, invites Jean and his mistress to luncheon. On that occasion, Rosario introduces Jean to DePotter, the celebrated musician. Sapho's friends make fun of her disinterested love. Disgusted at his bondage, DePotter tells Jean, as an example of what he is to expect of the hard life he leads with Rosario. A few days later, it is decided to leave the mansion and go to live at Chaville, close to the Hetteman's. At the pressing request of Sapho, Jean adopts a child, in total ignorance that the child is the son of Flamant, condemned for forgery. That day, in celebration of their installation at Chaville, they all have a picnic in the woods. It is there that they meet Irene Bouchereau, niece of the family doctor. This causes a terrible quarrel, which is only stopped by the sound of Hetteman's horn. One day Dr. Bouchereau meets Jean in a train and invites him to his house. The young people are pleased with each other. Then comes Jean on the eve of marrying the doctor's niece. Sapho compels him to give up all thoughts of marriage. Recognizing that his life is irretrievably bound with that of Sapho, Jean announces to his family that he is going abroad with his friend. His family reproaches and even curses him, especially his father. However, he learns that his mistress has received a visit from her former lover, the father of the child, and maddened by jealousy he insists that Sapho go with him to America. Fortunately for him, it is she who leaves him.

Dir: Emile Chautard

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

Although he is a successful architect, devoted family man Robert Crewe does not earn enough to cover the expenses of his wife Marion and daughter Emily. Unknown to him, his Uncle Abner wants to ruin him because Robert's father stole Abner's fiancée, who died in childbirth after their marriage. Abner hires a beautiful seductress to break up Robert's happy home, but she is unsuccessful. Abner, who dies prematurely, leaves Robert his fortune, hoping that it finally will lead to Robert's downfall. As Robert and Marion drift apart, Emily is left in the hands of an uncaring nurse and cries herself to sleep each night. Robert has an affair with a Broadway actress and Marion becomes romantically involved with a prominent sculptor. Robert squanders his inheritance and involves himself in highly speculative business investments until, threatened with Emily's death, he and Marion finally decide to change their lives and bring the family back together once again.

Dir: Emile Chautard

Father John is a rag-picker, well known at the Halles. A good man with many good qualities he has but one defect; he is fond of the bottle. He is intoxicated when he meets Garousse, a man ruined by gambling and reduced to the humble trade of a rag-picker. He will not listen to Father John's exhortations. As it happens, a collection clerk, Didier is returning from his round. Garousse does not recoil from murdering the man and makes off with the money. It is in vain that John tries to interfere; Garousse pushes him off, half strangles him and runs away. In front of Didier's body, John swears to keep away from drink forever, and takes home with him. Marie Didier, the grandchild of the victim. Fifteen years later. Father John lives a happy life with Marie, now a dressmaker. Garousse, by means of the stolen money, has become the Baron Hoffman. He has a daughter whom he wishes to wed to Henry Berville, his partner's son. Claire Hoffman has a child from some illicit love, and she has him brought up secretly. By chance, Henry Berville, while out for a walk, comes across Marie Didier, giving alms to poor women. Baron Hoffman is informed by a telegram that he is a ruined man. He informs his daughter of the disaster and she declares she will do all she can to save him. Unfortunately. Henry Berville does not love Claire. Baron Hoffman is soon satisfied as to the reason of his refusal when, on Marie Didier being introduced, he notices the tender intimacy that seems to exist between the two young people. He decides to see to it and to put Marie out of the way of Berville. Baron Hoffman secures the assistance of Mme. Patard, a midwife, and orders, in return for 10,000 francs, the disappearance of the child; but Mme. Patard prefers to hand over the child to Marie Didier, in whose kindness she has confidence. Marie not being at home, Mme. Patard leaves the child in her place. Marie was then at a masked ball, where, insulted by some man, she had been protected by Henry. When she returns home, she finds the child. It never entered her mind to take it to the Foundling Hospital, and keeps it with her. The same night, Father John finds in his basket, the rolls of bills lost by Patard. Baron Hoffman calls on Marie, whom he has followed after a meeting with Henry, and asks her to give up the young man. Learning that the young girl has a child with her, he seeks information and soon learns, by the coincidence of dates, who it is. He writes to Mme. Patard, stating that he knows he has been duped and that her only chance of pardon lies in the disappearance of the child. 50,000 francs is to be the price of that disappearance. As soon as he is satisfied that the midwife has secured the child, he writes to the magistrate and informs him that Marie Didier has done away with the child, whom, she states, has been stolen from her. Marie is arrested. On reading the paper, Father John learns of Marie's arrest, and also the name of the person who has lost 10,000 francs in notes. He sees that it is a plot against the girl. He endeavors to find the author of that vengeance, and calls on the midwife. After some prolonged questioning, John gets hold of the facts; he understands the part played by Mme. Patard and knows that the money was paid out by the baron. He calls on him and the two men, without seeming to do so, recognize each other. Garousse-Hoffman recollects that Father John was formerly fond of drink. Forgetting his oath, Father John gets intoxicated and Garousse steals the papers containing the proof of the crime. This, however, does not deter Father John, and his desire to save Marie is not to he swerved. He finds the means to enlist the sympathy of the magistrate, and, by the aid of a detective, Mme. Patard makes a full confession. She is arrested. Accompanied by two policemen, he repairs to the baron's house, who, by means of stratagem, is made to confess that he really is the murderer of Didier. Marie Didier, upon being set free, weds Henry Berville.

Dir: Emile Chautard

Austrian diplomats, seeking papers in the possession of the United States diplomat, work through the infatuation of his son, Harry, for an Italian widow. In his desperate financial straits, he is induced to turn traitor to his trust, but the woman, truly loving him, saves him from the consequences of his crime, at the cost of her own love and life.