Cinematic Discoveries Following the Footsteps of Destiny's Isle: Cu...

Dir: William P.S. Earle

Roger Kendall is sent to Nashville by the editor of his magazine to sign a contract for two cents a word with a woman writer named Azalea Adair. Once there, Kendall realizes that Azalea is very poor and is also the abused wife of Major Caswell, a drunkard who takes from Azalea every cent she earns. Kendall is able to piece their story together by following the movements of a torn dollar bill, which he gives to Azalea's former slave Caesar and which eventually winds up in Caswell's hands. In order to help Azalea, Kendall convinces his editor to increase her stipend to eight cents a word and also to advance her $30. At his hotel, Kendall meets Virginia Rodney, the semi-invalid daughter of a local judge and a good friend of Azalea. Later, Caesar, seeing Caswell violently take Azalea's advance from her, strangles the major. His part in the crime is covered up by Kendall and Virginia's father, however. Now free, Azalea goes to live with Virginia, who becomes engaged to Kendall.

Dir: William P.S. Earle

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

Hugh O'Donnell, the town blacksmith and leader among the people, is in love with Molly Conway, who shows her love for Hugh in mischievous pranks at his expense. Lord Percival Cheltenham owns most of the village and is hated for his war on poachers. One day, Lady Mary Thorne, who is visiting Cheltenham, stops at the blacksmith shop to have her horse shod and, impressed by Hugh's rugged manliness, invites him to visit. Molly, overhearing the conversation, follows Hugh to the manor, where she is seen by Cheltenham, who has been drinking, and dragged inside. That night, Cheltenham's gamekeeper shoots a poacher, and the peasants storm the manor in revenge. Hugh holds them at bay and promises to turn the culprit over to the law. Searching the manor for its master, Hugh breaks into the library and finds Cheltenham with Molly. Believing that they are having an affair, the blacksmith attempts to choke the lord until Molly explains that she had flirted with Cheltenham in order to arouse Hugh's jealousy, and all is forgiven.

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: William P.S. Earle

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

To avoid marrying the elderly suitor her aunt has chosen for her, young socialite Ivis Van Astor decides to hire Horatio Worthington to pose as her husband. She hopes that as a "married woman" she will pique the romantic interest of Norman Kent, who perceives her as a sweet young thing. Ivis and her hired husband go to Newport, where she begins to flirt with Norman, who discovers her ruse and decides to teach her a lesson. He stages a duel over Ivis with Horatio and pretends to die. Once Ivis is properly chagrined, Norman "recovers," Ivis' aunt falls in love with Horatio, and all ends happily.

Dir: William P.S. Earle

After preaching at a camp revival meeting that charity begins in the home, Littleton minister Hamilton Gregory finds a girl calling herself only Fran on his doorstep and takes her into his home. Fran soon finds that Mrs. Gregory is unhappy because Gregory has no affection for her, preferring instead his secretary Grace Noir. When Fran admits to Gregory that she is his daughter by an abandoned woman, and attempts to have him get rid of Grace, Grace has Bob Clinton make inquiries concerning Fran's past. When the circus comes to town, Fran, in disguise, substitutes for an ill lion tamer, because the circus is her hidden background. Seeing her in danger, Gregory realizes his familial responsibilities and refuses Grace. Fran then marries the superintendent of her school.

Dir: Edgar Jones

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

A mail-order bride arrives at a Maine lumber camp but doesn't like her prospective husband.

Dir: William P.S. Earle

At a London auction, Princess Sonia bids against her husband, exiled Prince Victor, for a Corot landscape in which incriminating letters Sonia wrote are hidden, but it is bought by Michael Lanyard, who is suspected of being the mysterious, international thief "The Lone Wolf." After Lanyard gives Sonia the letters, she divorces Victor, marries Lanyard, and dies after bearing their daughter Sonia. Years later, Sonia, who thinks she is the daughter of the Princess' maid, is found by Victor, now the leader of an underworld gang of Asian crooks and Bolsheviks. Saying he is her father, Victor brings her to his home, hoping to entice Lanyard to make an appearance. When Sonia discovers the gang's plan to pump poisonous gas into Buckingham Palace and the homes of the wealthy so that Victor would be England's dictator, she tells Roger Karslake, Victor's secretary, whom she loves. Lanyard, who has been posing as Victor's Asian butler, and Karslake, both Scotland Yard agents, capture the gang amid fire and fights.

Dir: Alexander Butler

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

In Alberta, Canada, a Cornish emigrant unmasks a rustler posing as the girl's "blind" father.

Dir: William P.S. Earle

When heiress Betty Hallowell organizes a Red Cross bazaar to raise money for the American effort in The Great War, she is disappointed that the event is not a success, so she decides to lease her beautiful country house to Mrs. Wentworth, a wealthy widow whose son Tom is recuperating from injuries received overseas. When Mrs. Wentworth suddenly demands the services of a maid for the summer, Betty, unable to secure a servant on such short notice, dons a dark wig and poses as "French maid Bettina." Much to his mother's embarrassment, Tom and "Bettina" fall madly in love, but necessity forces Betty to temporarily drop her disguise and reappear as the mistress of the house. Confused, Tom falls just as madly in love with Betty. Finally, he decides that he prefers Bettina to Betty, but Betty's uncle arrives and her deception is revealed. Tom explains his infidelity by stating that Betty's sweetness caused him to love her in both of her identities, and she is satisfied.

Dir: William P.S. Earle

Bradley, who is happily married and loves his family, is called to London on business. There he meets Mercedes, wife of the Spanish Ambassador. The marriage has been forced upon her, and her husband is cruel. Unaware that Bradley is married, she falls in love with him, and he is also infatuated. His better nature finally prevails, and he returns home and is happy until he receives a photograph from Mercedes. On pretext of business, he again goes back to Mercedes, finds there has been a quarrel, and that the ambassador has struck her. She and Bradley go away together, and while crossing the channel, he inadvertently discloses the fact that he is married. Mercedes unwilling to come between husband and wife, flees to a convent, and Bradley, unable to find her, joins an expedition to the forests of South America. Bradley has written his wife that he is a coward. Her health fails and her father takes her and the children for a trip abroad. The children are attacked by an epidemic of fever, and Mercedes, now a nurse, is summoned. She learns the identity of the family, and, when the boy calls for his father, she starts a search for him. After the crisis, Mercedes who has concealed her identity by use of a veil, wins her fight against a renewal of their relations, and warns Bradley, who has recognized her, to keep his wife in ignorance. Recovering from the fever which has now claimed her, she sees the reunited family depart for America, and knows her heart is empty and closed forever to love.