Underground Favorites Parallel to the Artistry of Drums of Fate: Cu...

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: Charles Maigne

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

Milt Shanks lives a shamed life, hated by his neighbors for having been a traitor to the North in the American Civil War. But Shanks carries with him a secret, one he promised Abraham Lincoln to tell no one.

Dir: Edgar Jones

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

Dir: Charles Maigne

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

Stenographer Rita Charles is a woman who courts the attention of wealthy men. Rita works for T. J. Olverson during the day, and sees wealthy New Yorker Hugh Chalvey at night. She meets Dr. Varian, a young settlement doctor, who falls in love with her, but Rita does not encourage him because he does not make enough money. She tries to get Hugh to propose, but he does not want to marry her. She befriends T. J. Olverson, Jr., but his father sends Rita away on a month's vacation. Hugh follows her to Atlantic City and proposes. Rita realizes she loves Dr. Varian, however, who also follows her there, and she accepts his offer of marriage.

Dir: Charles Maigne

Sheila Cardross Malcourt shares only a loveless marriage with Louis Malcourt, but is unwilling to divorce him even to marry the man she really loves, for fear of hurting her foster parents. Instead, she stifles her feelings for Garry Hamil and strives to maintain her marriage. But when tragedy ensues, she finds herself faced with a new dilemma.

Dir: Harley Knoles

A visual fragment from the archive: The thematic resonance of The World to Live In 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: Charles Horan

While working as a flower girl in Devlin Maddox's nightclub, Nellie Vaughan meets wealthy young Pelton Van Teel and falls in love. Maddox, desirous of using Nellie to blackmail Van Teel, spreads a rumor that she is his mistress. This makes Nellie uncomfortable, and she demands that Van Teel marry her immediately, to which he agrees. Meanwhile, Van Teel has been losing money gambling to Maddox, who threatens to break up the marriage by producing a worthless check that the young husband has written. Venturing to Maddox's apartment for a showdown, Nellie pulls a gun and demands the check, accidentally shooting Maddox when he throws a lamp at her. Maddox plans to charge Nellie with assault, but when the police arrive, his butler, actually a detective employed by the elder Van Teel, exposes Maddox, who is then arrested, clearing the path for the couple's happiness.

Dir: Maurice Elvey

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

A lady marries a horse trainer but withholds herself until her crippled brother is cured.

Dir: Charles Maigne

Seductress Leila Templeton flirts with Harleth Crossey at his wife Marcia's dinner party. After the intoxicated Harleth takes a midnight drive with Leila, his next-day apologies fail to assuage Marcia's humiliation. Later, Harleth's secretary calls Marcia to say that he will not be home for dinner. When the maid warns Marcia that the chauffeur is crazily threatening to shoot her unless she marries him, Marcia tries to contact Harleth, but is told by a lying switchboard operator that he is with Leila. Harleth's subsequent tirade expressing a need for "personal liberty" drives Marcia to seek a divorce. Two years later, Harleth marries Leila. After she responds to his complaints about her flirting by asserting her "personal liberty," Otis Vale, whom Leila has driven nearly insane with her teasing, abducts her. His frenzied condition causes their automobile to tumble over a cliff, killing them both. When Harleth learns that "Mrs. Crossey" has died, he imagines it to be Marcia, and rushes to her. The relief he shows convinces her that their "invisible bond" is intact, and they reconcile.

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.