Hand-Picked Alternatives for Fans of Lady Raffles: Cult Guide

Dir: Roy William Neill

Young Gloria O'Connell falls in love with her neighbor, James Oliver. She is sent to a small town to stay with her three spinster aunts, while James becomes a newspaper reporter and arranges to write a story on the town and its large old-maid population. James pursues overweight "Hippo" Harger, a rival for Gloria's affections, and challenges him to a duel. When James' newspaper story appears, the disgruntled old maids hunt down the author. In a fit of anger, Gloria decides to marry "Hippo," but James rescues her at the office of the justice of the peace. The youthful lovers continue their relationship with their parents' understanding.

Dir: Roy William Neill

A visual fragment from the archive: The thematic resonance of Flare-Up Sal perfectly mirrors the editorial trajectory of our deep dive.

A poor girl determines to right the wrong done to her father, and will let no one stand in her way.

Dir: Roy William Neill

Glory Wharton is the granddaughter of Civil War veteran Jed Wharton, who entertains everyone with his war stories, but has a serious drinking problem, which Glory is determined to help him overcome.

Dir: Roy William Neill

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

Trixie Darling, a leading chorus girl in the musical comedy number "Chicken, Chicken, You're Some Pickin'," refuses Broadway Benham's seductive wine parties and luxuries. Instead, she marries John Collins, an awkward Westerner, who, she is surprised to learn, is a multi-millionaire with a huge orange grove in California. John, overhearing jealous dancers say Trixie married for money, decides to test her. He takes her in a rickety Ford to their "home," a shack, where he throws things, raves, and makes her fix his breakfast at five. When Benham brings the troupe to town, he easily convinces the disillusioned Trixie to appear, but John carries her off the stage. Gertie Brown, John's jealous former sweetheart, starts the Committee on Public Morals to get rid of Trixie. When Trixie interrupts their meeting and has a hair-pulling fight with Gertie, a dislodged kerosene lamp starts a fire. After nearly losing her life saving Gertie, Trixie awakens from unconsciousness to find herself in John's mansion, now accepted by all.

Dir: Roy William Neill

Allaine Grandet lives with her father in the barren land of the north, where women are nothing more than mere chattels. She is sold by her father to Jules Latour, a brutal and primitive trapper, who subsequently gambles her away to James Dermot, the keeper of a den in the gold settlement. She is here befriended by a besotted pianist, who has seen better days, but whose manhood revives in Allaine's environment. The gambling hall proprietor seeks to bend her to his will, but she resists him, nameless fear tugging at her heartstrings. When he seeks to enforce his will upon her, she shoots and wounds him, and with this act her fear vanishes and she becomes mistress of herself. She goes with the pianist into the snows, and in a drift their dog unearths the body of Latour. So she finds happiness in the love of her protector, whose manhood has restored her faith in him.

Dir: Maurice Campbell

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

Carver Endicott, a young sophisticate, is rejected by his fiancée for being too foppish and dull. When she feigns an interest in his father, Carver attempts to disgrace his family name by working as a farmhand and later as a busboy in a hotel. However, the newspapers only praise him for his self-sacrificing principles; and finding that he cannot bring shame to the family through menial labor, he takes up with a notorious actress. But when this maneuver also fails, he returns to his former fiancée, who has no further complaint about his being an inexperienced dullard.

Dir: Richard Smith

Two female candidates for Chief of Police live across the hall from each other, and their political rivalry follows them home, leading to plenty of hi-jinks.

Dir: Unknown Director

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

The Judge needs a present for his wife's birthday, so Harry suggests a new corset. They go to the shop, but he's so embarrassed to ask the saleslady he hides in a phone booth.Harry goes in, but finds a GUY wearing one, and runs out.They both dress as women to get back in, but Mrs. Rummy gets there and chases him out.

Dir: Roy William Neill

Pearson Hunter, a jealous Southern plantation owner, returns home with his new wife Shirley, a Northerner. Shirley's socializing enrages Pearson when he finds her in the company of Alexander Chapman, a drunken wastrel, but after a bitter quarrel, they reconcile. Pearson's younger brother Morgan soon arrives accompanied by his fiancée, Margery Gibson. Shirley befriends Morgan, creating jealousy in Margery, who goes to Pearson for consolation and advice, but instead rekindles Pearson's own jealousy. Later, at a dance in the Hunter home, Chapman reappears uninvited. Morgan, aware of the situation, removes Chapman to the garden where the latter says insulting things about Shirley. Morgan knocks Chapman out, then returns to the house just as Jim Webb, a poor man with consumption enters the garden. Upon seeing Chapman, Webb kills him in revenge of a past conflict, but when a servant discovers the body, Morgan assumes that he is guilty and seeks council from Shirley. Pearson breaks in on them and, assuming a romance between them, despondently goes to the garden where he overhears Webb's confession, which results in a reconciliation among all the parties.

Dir: Roy William Neill

French scientists are developing a secret weapon, a gun that uses the mysterious powers of X-ray and ultra violet rays, called a "Ray Rifle." Miss Dalton played the girl that would protect it from German spies.