Rare Cinematic Gems Exploring the Legacy of Greater Than Love: Cult Guide

Dir: John M. Stahl

Young José lives with his guardian, Don Julian, a middle-aged diplomat recently married to young Felicia. Society gossips in Madrid find the situation increasingly scandalous.

Dir: John M. Stahl

Mary and John Emerson have been married for 22 years, and she treats him more like a son than a husband. Stung by her rebuffs, he succumbs to the youthful charms of Gloria Sanderson, whom he meets on a business trip. But just after he mails a letter to Mary telling her that he will not return, John finds Gloria in her fiancé's arms. Realizing his foolishness, he races to the train to retrieve the letter. He fails, and Mary receives and reads the letter; but she too has seen her error, conceals her knowledge of the letter's contents, and accepts John's professions of love.

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

Dir: John M. Stahl

James Brunton's wife, Molly, believing she has found her husband to be unfaithful, leaves him without asking an explanation. The 'other woman,' however, is Brunton's sister-in-law, whom he is supporting. In his search for his wife Brunton is hurt and temporarily blinded in an automobile accident. He is carried to the very house in which his wife has secreted herself. She nurses him back to health without his recognizing her until, when his sight is restored, the sister-in-law appears on the scene, an explanation is made, and Brunton and his wife are reconciled.

Dir: John M. Stahl

Elliot Worthington falls in love with Myra, the maid in his sister's household. Myra is dismissed; Elliot finds her, proposes marriage, and returns home with his new bride. She is snubbed by his relatives and shocked by the hypocrisy of his wealthy friends. Disillusioned, she runs away: Elliot follows and saves her from being hit by a train when her foot gets caught in a switch.

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

Dir: John M. Stahl

Hilda, a fisherman's daughter, and Philip Emerson, a noted physician, fall in love and marry, but the doctor soon becomes increasingly involved in his medical work, neglecting Hilda and their young son Philip, Jr. He then leaves her in the company of his friends, kind Peter and philandering Robert. When an epidemic of infantile paralysis breaks out, taking up even more of the doctor's time, his own son contracts the disease, and by all appearances dies from it. Heartbroken, Hilda collapses. However, the doctor discovers that the boy is in fact alive, although paralyzed. Believing that Hilda would be even more disturbed to know this, he hides the boy in his laboratory and works on trying to cure him, but cannot. Peter finally reunites Hilda with her son, and her presence and the miracle of motherly love succeed where science has failed: the boy is cured and walks toward his mother.

Dir: John M. Stahl

A fascinating piece of cinema that shares thematic elements.

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

Dir: John M. Stahl

Young Brierly struggles to save his father, Major Brierly, from the clutches of alcohol after the Great War. At the same time, he prepares Major Brierly's horse, which served bravely with the Major at the front, for the Kentucky Derby.

Dir: John M. Stahl

Just as Mr. and Mrs. James Randolph Emerson, Jr. are about to depart on their honeymoon, Lucille Emerson discovers her husband gazing at a photograph that bears the inscription, "With love to my husband, Grace." Too proud to question James about the photograph, Lucille is tormented by the image of the woman for many years. Finally Lucille becomes involved in a flirtation with another man, and when her husband learns of her infatuation, he becomes insanely jealous. Enraged, he is choking her when a small boy rushes into the room and collapses. James leaves Lucille, who returns the boy to his tenement home. While there, Lucille discovers that the child is James's son, born to a woman who died in childbirth. Finding that James has long forgotten Grace, however, Lucille is reconciled to her husband.

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

Dir: John M. Stahl

When Rosamond, a convent girl, discovers that her mother is Baby Brabant, a notorious queen of Petworth's gambling house, her ideals are shattered and she denounces her mother's life. Following her daughter's departure, Baby leaves the gambler and resorts to opium in her remorse. Rosamond becomes a successful actress and falls in love with Ned, the foster son of a wealthy man, Brabazon, who advises Ned to treat her as a plaything, but he refuses to drop her. Brabazon then learns that Baby Brabant is his former wife and that Rosamond is his own daughter. Ned and Rosamond are united after her mother dies.

Dir: John M. Stahl

Antoine de Tillois leaves his puritanical wife and in Paris becomes known as King Toto, leader of the bohemian set. Their daughter, Louise, spends 8 months of each year with her mother in Blois and 4 in Paris with her father, her sole concern being to see them reunited. Although Louise has fallen in love with Robert Le Rivarol, she vows not to marry until she accomplishes her aim; consequently, Toto pretends to reform and announces he is giving up his Paris life to return to his wife. Merinville, her accountant, and his nephew--both after Louise's money--discover that Toto has been corresponding with the Countess de Sano, his latest mistress; they try to blackmail Toto and scheme to get an annulment of Louise's marriage, but Toto thwarts their plot. When the countess absconds with her husband's secretary, Toto and his wife are happily reconciled.