Visionary Picks In Alignment with the style of Love, Hate and a Wom...

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.

Dir: Robert N. Bradbury

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

A simple country girl, brutally mistreated by her stepfather, awakens first the sympathy, then the love, of The Boy. The Spider, who lusts after The Girl, makes a bargain with the stepfather and takes her to the city where, kept prisoner, she is soon broken in health and spirit. Cast out and near death, she is taken in by The Boy. Following the demise of The Spider, The Boy takes her to church, where he prays, and after many hours she is restored to health.

Dir: William Parke

Bruce Wendell, the son of West Virginia coal mine owner James Wendell, graduates from West Point and prepares to lead a fighting unit to the front during World War I. As his father lies dying, however, he convinces Bruce to remain at home and guard the mine. Bruce's fiancée Ann Blair assumes that he is a coward and breaks off their engagement, but her brother Bobbie remains Bruce's loyal friend. Meyer, a German agent, persuades railroad president Parrish to refuse to transport Wendell's coal, but when Bruce adamantly refuses to close the mine, the spy's men decide to blow it up. While Ann is being abducted by Meyer, Bobbie is buried in an explosion at the mine. Bruce rescues Bobbie and then sends a plea to Lieutenant Parrish to rescue Ann. Meyer and his gang are captured and Ann renews her vow of love to Bruce.

Dir: Harley Knoles

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

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: Charles Horan

On Jim Gordon falls the political mantle of his father, "Big Jim" Gordon. The father has been the leader of a corrupt ring, but the son determines to be true to the teaching of his dead mother, and use his position for good purposes. However, he is not given credit for altruism. It is taken for granted both by the general public and by the politicians whose leadership he has inherited that he is a grafter, as his father has been. He succeeds in getting the Utilities Bill passed. The New American, a newspaper under reform management, warns the public against what it calls his hypocrisy. When he gets the Water Rate Bill passed they still accuse him of having some nefarious scheme "up his sleeve" to defraud the public. Gordon's only mistake is in making Sidney Benson Director of Public Safety. Benson is a fraud, who is posing as a reformer to further his own ends. He is engaged to Joan Madison, who is interested in the passing of the Sanitary Bill to provide for better conditions among the tenement dwellers. She goes to Benson for aid in the matter, but he gives an evasive answer. She then goes to Benjamin Waters, the editor of the New American, and he asks her to write a series of articles exposing local conditions. She consents, but goes to a mountain resort for quiet in order to write. Through an accident she meets Gordon, who has also gone to the same county for a rest, and they fall in love. On her return to the city she decides to plead with Gordon himself to have the Sanitary Bill passed, and is surprised to meet her friend of the mountains. He tells her that her own father is the owner of the houses in the debated district and that the destruction of these buildings will mean penury for her. Principle triumphs over selfishness and she tells him to go ahead and have the bill passed. He does so, and her father is left without means. Gordon tells him that all his money difficulties will be solved if he will influence Joan to become his wife. Joan's instinctive fondness for Gordon is clouded by what she thinks is his contemptible bargaining, but she consents. They are married, but she still believes that her husband is a grafter. A new traction company comes into the field to fight the methods of the old one. The original company accuses Gordon of no longer looking after its interests. His answer, which is an offer to buy the concern, is gladly accepted. Joan learns of the transaction and tells Benson, thinking her husband intends to defraud the public. An accusation of Gordon is made on the front page of the New American on the morning the franchise bill is to come up before the city council. A great crowd congregates, determined to fight Jim Gordon and any measure he may advocate. He demands a hearing. Briefly outlining the benefits he has conferred on the city, he tells them he has bought the company in order to make a present of it to the city in honor of his dead mother and to atone for the wrongs his father has done the community. Gordon and Joan are left penniless, but they begin a new life together.

Dir: Alexander Butler

A visual fragment from the archive: The thematic resonance of The Great Shadow 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: 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: Frank Beal

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

During a raging Montana snowstorm, Doctor Jim Barnes collapses at Esther Anderson's cabin door. Esther offers Jim refuge, but when he discovers that their food supplies are running dangerously low, he braves the journey into town in order to replenish them. On the way, he is overcome with exhaustion and fails to return. Esther, unaware of Jim's condition and abused by her stepfather, joins a theatrical troop and leaves home. Time passes and Jim finally finds Esther, but a vindictive member of her troupe accuses her of having an affair with the manager and Jim believes the accusation. He leaves and Esther goes to New York City where she becomes engaged to a jealous artist, although she still loves Jim. Sam Tuttle, a long time friend, is aware of Esther's continuing love, and so brings Jim to New York City in time to save Esther from an unhappy marriage.

Dir: Maurice Elvey

A lady marries a horse trainer but withholds herself until her crippled brother is cured.

Dir: Eduardo Notari

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