Essential Cult Cinema Drawn from the Same DNA as Has the World Gone...

Dir: J. Searle Dawley

Marta is a beggar child, who is adopted by Sebastien, the wealthy landowner. Sebastien makes Marta his victim. He wishes to marry a wealthy woman, but at the same time retain his influence over Marta. He therefore arranges through Tomas, the hermit, to marry her to Manelich, a simple, untutored shepherd living in the mountains, a rough child of nature who kills wolves with his bare hands and knows naught of guile and deceit. The wedding is performed, Manelich being under the impression that Marta loves him, and being truly in love with her. Later he learns he has been tricked, while Marta, who had at first believed that Manelich had been bought with the master's gold to become her husband, finds her conclusion wrong, the honesty of his love compelling her own. Then come developments which make the drama one of the most passionate, intense, trenchant character studies ever created. Marta is a patient sufferer, a tragic figure indeed, as she bravely endures all the cruelty and indignities that are thrust upon her by the ruthless "master." We witness the poignancy of her grief, the restraint and the anguish of the oppressed woman, and her movements among the treacherous characters of her environment.

Dir: J. Searle Dawley

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

Four-year-old Dorothy, the daughter of rich lawyer Winfred North, is inconsolable over her mother's recent death. Her father, too absorbed with business to pay attention to his daughter and her problems, marries Helen Stillwell, a widow with her own two children. Helen ignores Dorothy while taking care of her own children, treating Dorothy as if she's always "in the way". Finally Dorothy can take no more and runs away. She is found by the Goodwins, a married missionary couple, but when they bring her home, Helen Stillwell denies knowing Dorothy at all, seeing a chance for her own children to inherit Winfred's wealth and cut Dorothy out of the picture altogether. The Goodwins take Dorothy to Africa with them to bring Christianity to the natives, but matters don't work out quite as well as they expected.

Dir: J. Searle Dawley

Arthur Stillman, the senior member of the firm of Stillman and Thornton, cotton goods manufacturers of Rockton, Mass., has closed his mills under the pretense that he cannot obtain cotton to operate, but really because he has conceived the plan of secretly buying cotton and storing it for the rise in price that he knows will come. The town of Rockton is entirely dependent upon the mills for its existence and the closing of the mills causes great suffering and even starvation. Dell Hamilton, daughter of an old mill dyer and a favorite with her people by reason of her sweet character and true sympathy with them, is probably the one in Rockton who suffers most. Her lover, Sam Lloyd, in despair at his inability to provide for his mother and sick sister, receives a note from a friend suggesting that if he can get to Springdale, a town nine miles distant, that he may get a job as fireman in a certain mill. On his way home, he accidentally comes upon a large warehouse which he learns is filled with cotton bales, and upon careful inquiry he finds that the cotton is being stored there by Stillman and Thornton. In a flash the true state of affairs is recognized by him and spurred on by bitter anger he makes his way back to Rockton, where he meets some of his mates and makes known his discovery. The news spreads throughout the town and groups of mill hands gather here and there voicing their indignation. Bill Slinger, a great strapping big-hearted fellow and a favorite among them is selected as a leader to get them either justice or revenge. Dell, in horror, goes to Stillman's house to warn him of his danger. She pleads with Stillman to open the mills and give work to the people and tries to soften his heart with her stories of the condition of the people. Stillman, whose passion for the girl has been growing stronger day by day, finally tells her that he will open the mills upon one condition, that is that she marry him. Stillman hastily arranges an illegal marriage with Dell. The girl believes she is to become his lawful wife, but Stillman has no such intention. The ceremony is performed and they repair to Stillman's home in the country. Dell writes her father of her marriage to Stillman, but he intercepts the letter and substitutes one supposed to come from a certain friend saying that Dell will not be home that night because she is going to watch by the body of the dead boy, Bennie. In the meantime Stillman's love for the girl is growing genuine and she becomes the one thing in the world that he desires and his one fear is that she may learn the secret of the illegal life. Dell returns to the mill and is indignantly repulsed by her former friends. Her father in a bitter scene renounces her and in utter dejection she finds her way to the boiler room of the mill seeking Sam, from whom she at least expects sympathy. She meets with the same treatment at Sam's hands and in fact is informed by this that he has entirely forgotten her and is to be married to another. Dell has heard the conversation between Stillman and Sam and a revelation comes to her. She realizes the true condition. She knows that Stillman is the real love and slowly and sadly she walks to him as she asks him to take her back.

Dir: J. Searle Dawley

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

Beanie and Effie Deans are the two daughters of old David Deans, a thrifty Scotchman and strict church member, living near Edinburgh. David has reared his daughters in accordance with his rigid and austere ideas of life. The two sisters are as different in appearance and mind as two people could possibly be. Jeanie is steady, calm, noble and unaffected in dress and manner, while little Effie is gay and flighty, fond of finery and flirtations. Arriving at womanhood, Effie falls in love with young Georgie Robertson, the profligate son of a rich minister. Georgie has wandered far from his father's home and fold, and in his love for adventure becomes entangled with a band of smugglers. Under promise of marriage, Georgie often meets Effie secretly and gains her love and trust, but on his way to their prospective marriage is waylaid and arrested, in company with the leader of the smugglers, and thrown into prison. Effie has kept her family in ignorance of her love and betrothal, and has withheld from Jeanie even a greater secret, that she is to become a mother. Crushed by her misfortune, little Effie manages to secure a position in Edinburgh, and there receives word from Georgie, in prison, to go in her hour of trouble to friends of his who will care for her. She goes to these people, Madge Wildfire and her mother, a strange, eccentric pair, the mother a wicked old hag, the daughter demented through grief over her dead babe. They shelter Effie while her own little one is born, but the crazed Madge steals the young infant, leaving it alone by the roadside. The child is rescued by strangers, but is lost to Effie, who finally returns home, still guarding her sad secret. And there, for a time, she finds peace and quiet. But the old hag, fearing lest Effie accuse Madge of stealing the child, determines to accuse Effie of killing her own babe. Effie is torn from her dazed and grief-stricken family and thrust into prison, awaiting trial. During this lapse of time Robertson has escaped from prison, and incited a riot to rescue the smuggler-leader, who is popular among the town folks. Learning that Effie, too, is in the prison, Robertson also strives to effect her release. To his alarm and surprise, Effie refuses to leave the prison until her innocence is proved, and he is forced to leave without her. Desperate, he remembers the old Scotch law to the effect that if the accused has told any of her family that she is to become a mother, the statement is accepted as an evidence that she does not intend the death of her child. Robertson therefore writes Jeanie, begging her to meet him at midnight at an old church, and bidding her tell no one why he wishes to see her. This note he gives to Mr. Butler, a young minister, who loves Jeanie and is loved by her. Butler bears the note to Jeanie, demanding to know the reason for this appointment, but she steadfastly refuses to tell him, causing an estrangement between them. Jeanie meets Robertson, and he pleads with her to lie in court and thus save her sister. Meanwhile, Butler has been questioned by the authorities, on the occasion of a visit to Effie, as to his acquaintance with the escaped prisoner, Robertson, and is forced to reveal the contents of the note he bore to Jeanie. A searching party goes in pursuit of Robertson, led by Madge Wildfire, who knows the district better than the others. Madge divines the men mean danger to Robertson, whom she admires, and warns him with a wild song, so that he escapes in time, but without having secured Jeanie's promise. Jeanie visits Effie in prison, and is again begged to tell one little lie to save her sister's life, but she cannot escape her slavery to truth and honor, and refuses. At the trial Effie is condemned to die. Jeanie then goes barefoot to London and begs the Queen for her sister's life, telling her all. Though they offer the pardon in exchange for Robertson's hiding place, she staunchly refuses to reveal it. Her loyalty and strength appeal to the Queen's sympathies, and she grants the pardon. Stopping for nothing, she hastens back to the prison, and reaches the place of execution just in time. And so Jeanie saves her sister's life without the blight of having told a lie.

Dir: J. Searle Dawley

A fascinating piece of cinema that shares thematic elements.

Dir: J. Searle Dawley

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

Leah's father taught her from early childhood to steal. Attempting to commit a robbery at the home of Paul Sylvaine, she's caught by Sylvaine; instead of treating her as a thief and turning her over to the police, he has an extraordinary interview with her. Sylvaine has faith in the innate goodness of human nature, and this faith is strengthened by Leah's confession that her father has taught her to steal and that she wants to go somewhere to forget the past and begin life anew. An adroit complication is here introduced that increases the suspense: The brother of the girl that Sylvaine is to marry, returning from a drunken spree, enters Sylvaine's apartments and steals the jewels that Leah was to have taken. Sylvaine believes that he was duped by Leah, who after all his kindness and forbearance, fulfilled her job before she left. But eventually Sylvaine learns that the theft was committed by his fiancée's brother. Leah is exonerated, and just to help sentimental matters along, the engagement between Sylvaine and his fiancée is suddenly terminated. Sylvaine seeks Leah and finds her living far from Paris, a redeemed and regenerated woman. Ha asks her to marry him; she consents, and the jewels that brought her into Sylvaine's home and into contact with his refining influence are bestowed upon her as a wedding gift.

Dir: J. Searle Dawley

The story opens at General Feversham's residence at the annual dinner that he gives to the ones who are left of the Crimea officers. At this dinner, Harry Feversham, the General's only son, a boy of fourteen, is a guest. After the dinner is finished they tell stories of what happened in the Crimea, and Harry listens intently. The story is carried ahead about ten years when Harry is a captain in the army, showing him with his friend, Captain Durrance. They are both in love with the same girl, Ethne Eustace, and Harry and the girl after a time become engaged. Harry gives a dinner to his brother officers, Captain French, Lt. Willoughby and Captain Castleton, to announce his engagement. During the dinner Harry receives a telegram saying the regiment is ordered on regular service. Harry does not show his fellow officers the telegram as he should have done. They see him throw it into the fire. After they have gone, Harry determines to give up his commission, fearing that when put to the test he will be a coward. To preclude such a possibility he sends in his resignation. His fellow officers have, in the meantime, found out that they are ordered on active service, and next day they see that Harry Feversham has resigned his commission. They decide to send him three white feathers. While a ball is going on at Ethne's home a small package comes addressed to Captain Harry Feversham. He opens it in front of the girl and she asks him what he has done and he tells her. When she brands him as a coward, and striking a white feather from her fan, gives it to him. After this Harry Feversham's father will have nothing to do with him, and he consults his mother's old friend, Lieutenant Sutch, and announces to him that he is going to try and retrieve himself. He sails for Egypt in the hope of being able to do something and make the senders take back their feathers. After a long wandering at last he gets his chance and after many trials and tortures by the Arabs and a thrilling rescue he makes his fellow officers take back their feathers. In the meantime Durrance has been with his regiment in the Sudan and has been struck blind by the glare of the sun. Ethne, taking pity on him, has become engaged to him. Harry returns home to find that Ethne is engaged to another man. One day Durrance overhears them talking and decides for the sake of both of them to give up the girl, thus making Ethne and Harry both happy, and go back to the desert he loved so well.

Dir: J. Searle Dawley

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

A peasant girl sent to make a claim on her family's ancestral home in England's Wessex is seduced and left with child by its current owner.

Dir: J. Searle Dawley

Snow White, a beautiful girl, is despised by a wicked queen who tries to destroy her. With the aid of dwarves in the woods, Snow White overcomes the queen.

Dir: J. Searle Dawley

We show Lord Nelson leaving the admiralty room where he makes his famous speech and then introduce him with his captains giving the details of that wonderful plan of attack which was carried out to the letter at Trafalgar, the inspirations of the captains and their enthusiastic toast. We are then carried along to the day before the battle when the men are writing their last letters home. Here a beautiful scenic and photographic effect is introduced as the vision of the sweetheart of one of the lieutenants fades into view. This gives an opportunity to introduce that famous episode of the letter in which Lord Nelson called back the mail ship for a single message and which is endeared to the hearts of all those who sail the sea. We are then carried along to the morning of October twenty-first, Eighteen Hundred and Five, when the fleet of the enemy is sighted. The decks are cleared for action and the hoisting of the colors is portrayed with all the solemnity of the occasion before entering the battle. The correct incident of the hoisting of the famous signal "England expects every man to do his duty" is splendidly portrayed and carried out in every detail, and we note the pathetic touch in Nelson's life in bidding farewell to his captains having at the time a presentiment of his own death. We now get to the little human touch in his life and learn the true character of the man, for, in his last entry in his diary before the battle, he makes peace with his maker. And now we come to that wonderful spectacular picture of the real battle of Trafalgar. We see the ships in action, the firing of the guns, the ships caught on fire and then the camera switches to a close view of the deck of the Victory where human life is sacrificed by the hundreds, the fighting top of the Redoubtable, the fatal shot and Nelson's fall. We then see that wonderful character in his death, the solemnity, the beauty and the pathos of it all being carried out by the Edison players in all its grandeur; his farewell to Captain Hardy, the last kiss, the news of the victory and finally his death.