The Cult Collection Inspired by the Vision of Lahoma: Cult Guide

Dir: Edgar Lewis

Bill Matthews and his partner, owners of the "Croix D'or mine, are beset on all sides dues to the schemes of a trusted colleague who plots to take their mine away from them, and leaves no under-handed method un-attempted in the process.

Dir: Edgar Lewis

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

Stolen when a baby by a mulatto woman, who becomes a half-crazed witch, and raises her to beautiful womanhood with the belief that she is her own daughter, Belle cannot bring herself to mix with her race and accept the attentions of a noble character in the person of Ben Swift, in whose veins the blood of the red, white and black races are mixed. A handsome white stranger. Page Warren, from the North, who believes her a white girl, falls in love with her. She returns his love while at the same time hiding the fact that she is the negro witch, Lindy's, daughter. Page incurs the hatred of the bad element among the blacks, while failing to appreciate that there is also a good element among whom are men and women as noble as any of his white companions. He incurs the hatred of Ben Swift, who misinterpreted his attentions to Belle, and resents the mixing of the races, not knowing that Belle has not disclosed her identity to Page. The attacking of Page by a gang of bad blacks, following his fight with one of their leaders, his rescue by Ben Swift, who has learned of Belle's love for the white man. the discovery by Page that Belle is a mulatto, the sensational disclosure of the fact that she is the last daughter of a prominent Southern family, the death of Ben Swift while defending Page and Belle from an enraged mob and the beautiful handling of the subject of the spiritual equality of men makes "The Bar Sinister" an intensely interesting drama with a powerful appeal to all classes.

Dir: Edgar Lewis

Karl "Curly" Casterline, a wrongfully discharged New York City policeman, finds work on the Midwestern farm of Adolf Bauerle to help the war effort. Curly is attracted to his boss's niece, Mina, but also realizes that Adolf and his cohort, Kurz, plan to blow up a troop train. Curly kills the two saboteurs and saves the train, but he is jailed by the abusive Sheriff Herman Lindig. Although Mina praises Curly for saving the soldiers' lives, he is sentenced to death and is denied a pardon from the governor. After the case attracts national attention, the governor explains that he prolonged Curly's incarceration to draw attention to the danger of German propaganda. Curly marries Mina and is later pardoned by the governor, who enlists him as an officer to protect the state from its enemies. Sheriff Lindig and his German conspirators are convicted and escorted to federal prison by Curly.

Dir: Edgar Lewis

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

Montana cattleman Austin Brandt is jilted by Rosemary, who elopes with stranger Royce Greer, but he is consoled by his 20-year-old niece Joan. Rosemary later returns to Custer City to run a dance hall with her husband, who mistreats her. Eastern capitalist Robert Barton comes to town with his son Ford to settle a financial misunderstanding with Brandt. After reprimanding his son, Robert Barton is later found dead in his bed. Knowing of their financial argument, Ford believes Brandt is responsible, while Greer and his gang claim that Ford committed the murder. Convinced of his innocence, Ford asks Brandt to help him find the murderer. They discover that Barton was shot with a .38 caliber bullet, and Greer carries such a revolver. Meanwhile Greer's mob storms Brandt's house demanding Ford be taken prisoner. Brandt forces a confession from Greer, who is dragged away. After her husband's death, Rosemary departs and leaves a note explaining her love for Brandt. Joan and Ford find happiness together.

Dir: Edgar Lewis

Rosa is looked upon as an outcast, and is always in the shadow of her spoiled younger sister Rita.

Dir: Bruno Ziener

A visual fragment from the archive: The thematic resonance of Calibre 38 perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Edgar Lewis

Vladimir Krestovsky, a Russian peasant of unusual physical and mental prowess, hearkens to the call of America, and leaving his wife, Nataska, and his year-old baby, Olga, behind, makes the journey and secures work in the steel mills of Pittsburgh. From a position as a laborer, he finally works himself up to be one of the great financial factors of the world. His wife in Russia has not heard from him for many years and knows nothing of his success. He shortens his name of Krestovsky to that of Krest. Then commits bigamy by marrying the daughter of one of the social leaders in the country. In the meantime, over in Russia, his daughter, Olga, has grown to womanhood. She is wooed and won by Nicholas, a kindly young Russian peasant. Krest's American wife dies. His mind, as he sits by her bedside, takes him back to the Street of Forgotten Days when he bid Nataska good-bye. The voice of conscience preys upon him and he endeavors to seek diversion in art. He purchases the original of Hoffman's famous painting of "Christ and the Rich Young Man." Arriving in America, Nicholas and Olga secure work in one of Krest's mills in Pittsburgh. They live with Nataska in a miserable tenement house. A baby is born to Olga, and she, in her weakened condition, returns to work. One day she is severely injured. Nicholas sits beside his wife. He realizes that with her death will also come the death of their offspring. A peasant from another part of the tenement urges Nicholas to appeal to the "Big Boss" Krest himself. Nicholas determines to do so and starts out. In the meantime, Krest has arrived home. The painting has been hung, and he is puzzled as he studies the face of Christ; he wonders where he has seen it in real life. Without a storm has begun to gather, and far up on a distant hill, the stranger appears in a silhouette against the threatening sky. Slowly and peacefully he comes down into the house of Krest. To Krest's startled questions the Stranger replies that he is one who has come to show him the error of his ways. The Stranger takes Krest into the tenement house, shows him the living conditions of the people who work for him. Then the Stranger shows him into the home of Nicholas and shows him Olga and the baby both dead in bed. Then they go back to the home of Krest. On entering, Krest struck by the Stranger's manner and appearance, compares him to the figure of Christ in the painting, and the sub-conscious mind within him forces him to tell the Stranger that it seems he knew him in the long ago. Then the Stranger informs him that he did know him, and asks him if he cannot remember, centuries ago, and the scene goes back to Jerusalem. Krest is the reincarnation of the Rich Young Man, the Stranger is the same Christ, who, centuries ago, had urged the Rich Young Man to go sell all he had, give to the poor and to follow him, but the Rich Young Man could not think of giving up his immense wealth and had left Christ with the beggars. Then the scene comes back to Krest's library. Christ, for the Stranger is Christ, then tells the penitent Krest that, though he did not heed him then, to heed him now, and he tells him that perhaps he did not understand him then, that he did not mean for him to sell everything he possessed, but rather that he should take that which he did not actually need and use to benefit his fellowmen. The Stranger makes the sign of the cross, and disappears. In the meantime, Nicholas has been hastening to Krest's home. The storm breaks without and Krest awakens with a start. He crosses to the windows to shut them. Nicholas has arrived, but the butler refuses him admittance. The rain has drenched him and he stands there. Krest, who has crossed to shut the windows, peers at him. The sight of Nicholas, who looks so much like Christ, staggers Krest, who wonders if it has all been a dream, and watches Nicholas disappear into the storm. Realizing it is really a human being, he calls the butler and bids him bring Nicholas back. Krest questions him and then tells him that he is anxious to see conditions as they really are. He goes back with Nicholas to his home. On the way Krest secures a doctor to care for Olga, never suspecting that it is his own daughter and son-in-law whom he is benefiting. Arriving at the house, the doctor and Nicholas cross to the bedside of Olga, who, much to Krest's relief, is still alive and has a chance to recovering. Krest notes the terrible living quarters of the people, and determined to investigate farther. He starts into the kitchen, where he comes face to face with his wife. Without a word, Nataska crosses to his side, and he takes her into his arms, and so the rejuvenation of Vladimir Krestovsky takes place.

Dir: Edgar Lewis

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

Dr. Robert Winston loses faith in himself and his religion when his own mother dies under his scalpel. Abandoning his profession, he moves to the Canadian Northwest, where he avoids companionship and drinks constantly. Despite Robert's atheism, he attracts the interest of Jeanette Mercier, the minister's daughter, and under her gentle influence, he is slowly regenerated. In the meantime, an Indian named Lone Deer bids a temporary farewell to his sweetheart Winona, whose father wishes to die among his own people, but when he finds her canoe overturned in the water, he assumes that she has drowned. Later Lone Deer saves Jeanette from Lou Baribeau, the brutal and lecherous company agent, but is seriously wounded in the struggle. Rev. Mercier convinces Robert to operate, and because the procedure proves successful, the doctor regains his faith and marries Jeanette. Winona finally returns to aid in Lone Deer's recovery.

Dir: Alexander Butler

In Alberta, Canada, a Cornish emigrant unmasks a rustler posing as the girl's "blind" father.

Dir: Edgar Lewis

Stephen Orry is an Icelandic vagabond. Rachel, the daughter of the governor of the province, is attracted to him. Her father, who is against the relationship, drives her from home, and she marries Orry. But she cannot make a man out of Orry, who runs off to sea. Rachel supports herself and her son Jason, while Orry begins a new life on the Isle of Man. He marries Liza Killey and they have a son named Sunlocks. When Liza mistreats Sunlocks, Orry takes him away to the governor of the Isle for safekeeping. After Rachel dies, Jason sets out for revenge against his father. His half-brother Sunlocks sets out for Iceland to find Rachel and Jason to make reparations, while Jason comes to the Isle of Man. While there, Jason saves his father from drowning, and after his father dies from a natural death, he turns his desire for revenge against Sunlocks. But when Sunlocks becomes a political prisoner, Jason forgoes his revenge and dies in place of Sunlocks.