The Definitive Guide Deeply Connected to File 113: Cult Guide

Dir: Charles Raymond

A magician helps outwit a Chinaman's gang.

Dir: Chester M. Franklin

A visual fragment from the archive: The thematic resonance of Let Katie Do It perfectly mirrors the editorial trajectory of our deep dive.

Katie Standish is the family drudge on a New England farm. Her elder sister "enjoys" poor health and her mother sees to it that Katie not only does her own work but that of the weak or lazy Priscilla. Oliver Putnam, a husky young farmer lad, comes courting Katie, but her parents interfere so much that he is discouraged. Oliver finally goes to Mexico with Ben Standish, uncle of Katie and Priscilla, who owns a valuable mine there. Priscilla marries Caleb Adams, a young man who bought a farm adjoining that of Standish. Father and Mother Standish die and Katie goes to live with her sister. Soon she is doing all the housework, and as Priscilla rapidly becomes the mother of seven, each and every one of them is turned over to Katie's care. Then Priscilla and her husband are killed by an express train while driving to the city. Then Katie must teach school to help keep the wolf from the door. She writes to her uncle, telling of her sister's death and how the care of the children had fallen to her. The uncle invites her to bring the motherless brood with her and they can all make their home with him in Mexico. Oliver Putnam is expecting Katie, but the information about the children has been withheld from him. He is overjoyed when he sees Katie step off the train, but is flabbergasted when he sees the many children--only the first time the children get between Oliver and Katie, and Oliver comes to resent them. He sees two of them fussing and spanks one of them; Katie catches this and gives him a scathing rebuke. Then she happens to hear him tell Dan that he hates children; this lands him squarely in her bad graces. Uncle Ben likes the youngsters. He shows them how a series of guns in their little home could be discharged at once by pulling a lever and how a mine around the house could be discharged in a similar manner. He is careful to lock the room where the weapons of destruction are placed, but one of the children finds out where he has hidden the key. While Katie and Oliver are away on an errand of mercy, Mexicans attack the little house. The children are all there but one. The missing one happens to be outside and escapes to the road, where he is saved by a cowboy who goes after help. Meanwhile the children defend themselves by discharging the guns and firing the mines as their uncle had shown them. Katie and Oliver have a desperate fight when they are attacked by another band of Mexicans, but hold them off in a deserted cabin, till the cowboys rescue them. Oliver can't help admiring the brave way in which the children have defended the house, and is grateful also for the fact that the silver under the floor has been saved from the Mexicans. So Oliver and Katie forget their differences and make a home for the children in a mansion in the United States.

Dir: Tom Collins

When milk magnate Jacob Strauss is found murdered in his library, the guilt points to Strauss' secretary, Harry Gray, who the previous day was fired when his employer discovered that he was secretly engaged to his daughter Sybil. Arrested for the crime, Gray asserts that he arrived in time to witness the attack on Strauss by a masked man who escaped through the window. When the secretary's story is ridiculed because the window is sixteen stories above ground, Sybil appeals to Tex to take the case. After a long search, Tex summons a number of suspects to his office and accuses Blake, whose apartments are above those of the murdered man. It transpires that Blake, who held a grudge against Strauss for losses he suffered in the milk pool on the exchange, killed him and made his escape by means of a rope. Thus exposed, Blake leaps out the window to his death, clearing Gray of guilt and freeing him to face a happy future with Sybil.

Dir: Chester M. Franklin

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

Following the death of her fiance and the birth of her baby, Dorothea, to avoid even the hint of a scandal, gives the child to her best friend Martha, who has arranged to have the infant raised by her old nurse. Soon, having kept her child a secret, Dorothea marries Deacon Hunt, while Martha becomes engaged to John. When unconscionable Sell Hawkins remembers having seen Martha bring the baby to the nurse, accuses her, before the church congregation, of being an unwed mother. Dorothea remains silent, and Martha, hoping to protect her friend, refuses to tell the truth about the child. Just as Martha's guilt seems assured, however, the child is brought to the church with an injury, and when a concerned Dorothea rushes to the infant, her actions and expression betray her own secret.

Dir: Chester M. Franklin

The little school ma'am has come out to a Western town from her home back in Virginia. The townspeople just can't help making life miserable for the little schoolteacher, and when a young playwright who happens to be from Virginia himself, arrives in the town and meets the lonely little teacher, old Mrs. Grundy just runs riot. To make matters worse, the young people go off for a ride and when they wander off to a spring to get a drink, the horse runs away,, so they must stay out in the woods all night. Then there is a crash, and the school teacher is summarily dismissed from her position.

Dir: Chester M. Franklin

A visual fragment from the archive: The thematic resonance of Martha's Vindication perfectly mirrors the editorial trajectory of our deep dive.

Jack exchanges his cow for some magic beans. The beans grow overnight into a beanstalk. Jack climbs it and arrives at a castle that is his. He sets a deal with the giant in exchange for the fortune.

Dir: Dallas M. Fitzgerald

Edith Sturgis, the daughter of a judge, returns from studies abroad to find her widowed father remarried. The new Mrs. Sturgis does not reveal that she has a son Dick, once unjustly jailed by Judge Sturgis, but now working as a reporter while still maintaining an association with the Brownlow gang. Quarrelling with her stepmother, Edith leaves home, meets Dick and falls in love. While Dr. and Mrs. Allen (whom Edith met on the steamer) are visiting in the Sturgis home, the doctor's valuable radium is stolen from the safe, and Judge Sturgis is found murdered. Dick, though with Edith at the time, is accused of the crime. Finally, an old shoemaker confesses that he entered the house to steal the radium, with which to cure his crippled son, and witnessed the judge's slaying by the Brownlow gang. Dick is freed and finds happiness with Edith, and the doctor helps the crippled boy.

Dir: Chester M. Franklin

A visual fragment from the archive: The thematic resonance of The Little School Ma'am perfectly mirrors the editorial trajectory of our deep dive.

Roy Somerville has turned out an interesting story that will hold the interest of the majority of audiences as produced by the Triangle-Fine Arts Company. It is a five-reel feature produced under the direction of C.M. and S.S. Franklin,. Norma Talmadge stars as Cora, who is wed to Arthur Vincent (Eugene Pallette); they have two children. Vincent is a bank president's son who devotes much of his time to cabaret dancer Jane Courtenay, who is willing to have him devote his time to her as long as he is a good provider. The wife, who has been sadly neglected, turns to her sister, who is wed to young detective Fred Brown. His brother Charles, who works in the elder Vincent's bank as a cashier, lives with them. He was Cora's first love and has never quite recovered from the fact that she jilted him to wed Vincent because of his money. The cabaret dancer makes several demands on the young Vincent, who tries to borrow money from his father to meet them; failing to receive the loan, he agrees to help several friends of the cabaret charmer rob his father's bank. After the robbery Charles Brown is accused of the crime and arrested. But the robbers are discovered in their hiding place, and in escaping all but one is killed. Cora is left a widow and the natural supposition is that she and Charles were happily married afterward. Just where the title comes in is hard to say, but the picture, while not one of the best that has been produced at the Fine Arts, is one that will get by because of its great appeal to women.

Dir: George Beranger

John Fenton visits a fortune-teller to gain insight into his parentage. While there, a police raid occurs, and he climbs the fire escape to the apartment above. There he finds a girl standing over the body of a young man who has just shot himself. The girl, Belle Charmion, explains that her half brother, Gordon Brewster, had stolen some jewels from their uncle and, fearing that the police would capture him, had attempted suicide. Fenton conceals the brother in another room and impersonates him when the police arrive. Later, he and Belle take Brewster to his uncle's home. In the excitement, the jewels have been forgotten, and Fenton returns to search for them. By this time, the family butler, who is a member of an underworld gang, has tipped off his friends, who then steal the Fenton jewels. At the butler's home, a scuffle ensues; Fenton recovers the jewels and learns that he is actually a distant relative of the Charmions, having been kidnapped in infancy by a crook. With both mysteries thus resolved, Belle and Fenton become engaged.

Dir: Chester M. Franklin

Millionaire Hamilton fakes death to test wife's loyalty. His wife and brother plot to kill his children for inheritance. Hamilton warns kids through Hansel and Gretel story. Wife overhears, realizes her evil plan. Family reunites.