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Dir: Ubaldo Maria Del Colle

Based on the Edward Bulwer-Lytton novel. Set in the shadows of Mt. Vesuvius just before its famous eruption.

Dir: Eduardo Notari

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

A crime drama in the Gennariello-series. The police detective in Naples that is confronted with modern gangsters and crime events.

Dir: Harley Knoles

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: Ubaldo Maria Del Colle

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

A fascinating piece of cinema that shares thematic elements.

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: Alexander Butler

A visual fragment from the archive: The thematic resonance of The Other's Sins 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: Ubaldo Maria Del Colle

Jack Hilton, naval lieutenant, has fallen in love with Adriana Duncan, a wild beast tamer, but his relatives refuse to sanction the marriage owing to the poverty and to the humiliating occupation of his fiancée. In despair, Milton appeals for the last time to his eccentric old uncle, Marquis Hilton, who threatens to alter his will in favor of another if he persists in his mad intention. A fortnight later, in spite of this determined opposition, the marriage is celebrated. Furious at this disobedience, the Marquis is in the act of disinheriting his nephew when his old complaint seizes him and he dies without having time to change his will. Jack is ordered out to conduct an expedition into the interior of India with a view to discovering the unknown sources of the "Sacred River" of Belopore. Sadly he takes leave of his young bride and sets out upon his journey. In the train he meets Thomas Trevalny, his old school friend, and on board the liner, a few minutes before the departure, he receives the news of his uncle's unexpected death and of his own inheritance. In great haste, Hilton entrusts the important documents to Trevalny, saying that he will send the power of attorney from Calcutta. Left alone, Trevalny determines to gain possession of his friend's valuable inheritance, and gains admittance into his house as gardener in order to intercept the letters from the East, and also Hilton's power of attorney, Trevalny succeeds in his villainous plan, and, while poor Adriana is still waiting for news of her husband, he becomes master of the fortune by means of the intercepted power of attorney. At last Jack Hilton and his expedition are bivouacking on the banks of the "Sacred River." The Rajah, however, an unrelenting foe of all Europeans, is informed of their intrusion, and sends his fanatic soldiers to attack the encampment. Overwhelmed by a superior force, the Europeans are almost all massacred, and Hilton himself is taken prisoner. The Rajah himself condemns the unfortunate man to be burned alive, but, at the entreaty of his favorite Fedorah, he imprisons him for life. Meanwhile Adriana has become poor once more, and believes her husband to be dead. A son is born, of whose existence the father knows not, and Adriana is compelled to devote herself once again to her old profession of wild beast tamer in a menagerie to provide food for her child. At Belopore, the Rajah observes Fedorah's nightly visits to the European's prison, and the unfortunate Jack Hilton is thrown into the Court of Lions. Fedorah, however, persuades the faithful Pipel to save her lover, and he flees from Belopore to his safety. Trevalny, who loves Mrs. Hilton, comes one day to force his will upon her, and is driven from the house by the unexpected arrival of one of her leopards. Furious at his failure, he buys the menagerie where Adriana is employed, and writes a letter to her, announcing his fixed intention, either to realize his desire or to drive her into the streets with her little son. Helpless, Adriana comes to appeal to his better feelings. That same evening, after two years' absence, Jack Hilton returns home, finds the threatening letter, and guesses the danger of his wife's position. Without losing a moment, he runs to Trevalny's mansion, and bursts into the drawing room where the scoundrel is trying to seduce his wife. With a terrible cry he hurls himself upon the traitor, but, at his wife's prayer, restrains his fury until the arrival of the police. So, after so many sufferings, Hilton and his wife embrace once more, while Trevalny awaits the punishment he well deserves.

Dir: Bruno Ziener

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

A fascinating piece of cinema that shares thematic elements.

Dir: Dallas M. Fitzgerald

Confidence artist Flossie Golden attempts to fleece foolish but wealthy James Venable with a breach-of-promise suit. Venable's shrewd attorney, Richard Harding, outwits Flossie by proposing that she marry Venable and live on an allowance of $3,000 per year. Flossie is determined to get even with Harding for ruining her plans. In an attempt to con him, she poses as Innocence Page, but falls in love and marries him instead. Larry, Flossie's former accomplice, endeavors to blackmail her with her errant past, but Harding is already cognizant of the facts and Larry fails.

Dir: Ubaldo Maria Del Colle

Frank Canti, a professional hunter, has had a very bad season. Winter is approaching, and with an old father and two sick children on his hands, he has no money to buy food or medicine. The proprietor of the only hotel in the village, meets him, and tells him that he must have a couple of wild ducks for a banquet, and offers him a large stipend for securing them for him. Canti realizes that the only place to get them is on the preserves, closed to the layman, and to get them he would have to trespass. He is sorely tempted, but refuses. He returns home and is confronted by the doctor, who insists that the child receive the medicine prescribed, so he returns to the proprietor of the hotel and accepts an advance from him, the balance to be paid on the delivery of the ducks. He goes to the Count's grounds, shoots a duck, and is immediately caught by the keeper of the grounds, who is in love with his wife. He is hailed to the police court, where the keeper swears to a charge of trespassing against him. The penalty for the offense is 300 francs, or one month in jail. Police Officer Moretti's term of three years is practically over. During this time he has saved 300 francs, which he has placed in an envelope, and intends using same as a wedding gift to his bride. The hunter's wife calls on him for advice, he having a reputation for big-heartedness, but he advises her that nothing can be done, and takes her to the lieutenant, thinking possibly that he might see a way out of the dilemma, but, instead, the lieutenant confirms what he has already said. He, too, is extremely warm-hearted and generous, and as soon as the hunter's wife departs, gives the policeman five francs to take to her. The hunter is allowed three days in which to decide whether he must serve his term in prison. The time having expired and the fine not paid, Moretti is given a warrant for the hunter's arrest. He goes to the house, and the children, on seeing him, embrace and kiss him. Touched by this show of affection, he hesitates about making the arrest. In the meantime, the lieutenant decides to go to the house himself to see if the policeman is carrying out his orders. As he approaches, Moretti realizes that he cannot carry out his duty, and pulling out his savings, hands it to the lieutenant in the envelope, and tells him that the hunter has decided to pay the fine. Moretti, having sent for his mother and fiancée, returns to the police headquarters and finds them awaiting his arrival. The hardest task of all is now in front of him, that of telling his beloved ones that he cannot go on with the marriage, as he has lost his savings. In the meantime, the lieutenant opens the envelope that has been given to him by Moretti and notices the inscription, "For My Wedding," written on it. The truth of the situation dawns upon him, and out of his own savings takes 300 francs, places it in another envelope, and writes the inscription, "The Hunter's Fine" on it. He goes into the room where Moretti, his fiancée and mother are, drops the original envelope on the floor and calls Moretti's attention to it. Moretti picks it up and at once realizes the generosity of his superior officer. The last scene shows everybody reunited.