Underground Favorites Mirroring the Impact of Magda: Cult Guide

Dir: Emile Chautard

Vivacious little Gilberte, known as Frou Frou, is the daughter of M. Brigard, a retired merchant, who has as his companion in a life of gaiety, Comte Paul de Valreas, a much younger man. Both the Count and Henry de Sartorys are in love with Frou Frou, and when De Sartorys asks for the hand of Frou Frou, M. Brigard refers him to Louise, the elder daughter, who is in charge of the household. To Louise, who loves de Sartorys, comes the first anguish of her life, when he confides his love for Frou Frou. However, she confers with her little sister who agrees to marry De Sartorys. Paul also asks for Frou Frou's hand, but Brigard refuses, stating he is too jolly a companion to be trusted as a son-in-law. Five years pass, and although Frou Frou adores her son Georgie, the calm role of a homemaker does not suit her, and on one of Louise's visits she realizes her own place has been usurped, as both De Sartorys and Georgie go to her for advice. Paul still loves Frou Frou, but she fights against her growing attraction for him, and begs him to go away. Finding she is no longer necessary for the happiness of her husband and son, after a furious tirade against Louise, she leaves and joins Paul in Venice. Paul's mother receives her, and the next day, De Sartorys, who has followed, finds her, and despite her pleas, fights a duel with Paul, in which Paul is killed. Out of the loneliness and sorrow of the ensuing months her soul is chastened, and she returns to ask her husband one last favor, that she be allowed to die in the house she entered as a bride. Although Louise also pleads for her he at first refuses; but when Frou Frou, formerly so light-hearted and care-free, pleads on her knees, he can no longer deny her, and the two meet in a tearful embrace. Her life closes with a semblance of happiness, as she gives to Louise the two that are closest to her, her husband and son.

Dir: Emile Chautard

A visual fragment from the archive: The thematic resonance of Le roman d'un caissier perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: Emile Chautard

The old gardener, attracted by the ducks' antics, goes to the lake to find a basket with a baby in it. Six years later Little Dutch is sharing in the labors of her guardian, assisting him in the garden and trudging by his side to the city market. When she is 14, death takes her guardian. He leaves her a few coins, besides the house and garden, and she lives there alone. Famous painter Lionel, seeking a model for his "Marguerite," sees Little Dutch and persuades her to pose for him. Woodman Jean becomes jealous of the attentions of Lionel. On the day the good Padre sets aside for the villagers to make a pilgrimage to the Shrine, Lionel invites Little Dutch to share a day's outing with him. After a drive they visit a hotel. From a secluded arbor where they are eating she sees the villagers enjoying themselves. At eventide they return to her home, where he bids her goodnight. Her absolute innocence has conquered him. Lionel resolves to leave her in peace. He tells her he must go away. Poor Little Dutch becomes more and more quiet. One day Lise, who always delighted in torturing Little Dutch, tells her, "Your painter is poor, and ill in the great city." Little Dutch resolves to go to his assistance. She finds that with no money she cannot ride, so she resolves to walk the 200 miles. When Jean learns that Little Dutch has left for the great city, he hastens there, locates the painter's abode, and awaits the coming of Little Dutch. Finally she arrives, with holes worn through her wooden shoes, clothing bedraggled and worn, a really forlorn object. She rings the bell, the door noiselessly opens and she enters, astonished and awestruck, a large gallery filled with paintings and statues. She hears voices, follows the sound and finally locates the noise behind the curtains. She parts them and is dazzled when she sees Lionel lying on a couch, surrounded by a riotous crowd of men and very décolleté women. With a piercing scream Little Dutch turns and flees. Lionel tries to follow. Faithful Jean, although he has remained on watch outside, is not in time to prevent her from jumping into the river but he rescues her and takes her home. On her little bed she lies, surrounded by her neighbors whose sympathy is extended, alas. too late. One day she rouses herself and, placing two rosebuds in her wooden shoes, says "Send them to him," she says. One night she passes out through the open door, proceeds to the edge of the lake, and slips in among the lilies from whence she came.

Dir: Emile Chautard

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

During an entertainment given by Engineer Dechelette, the former model Fanny Legrand comes across Jean Gaussin D'Armondy, who is studying law in Paris. On the eve of breaking away from her, he happens to hear that she is no other than the celebrated Sapho, Sapho called on Jean from time to time at his student's quarters and after nursing him through a long illness, she succeeds in deciding him to keep her with him. Sapho is happy in finding a small apartment where they shelter their love. One day the sculptor, Goudal, lifted a corner of the veil that hid Sapho's past. This made Jean jealous and Sapho appeased him by the surrender of her old letters. The sudden blaze of those innumerable papers caused the chimney of the house to catch fire. Neighbors rushed in and among the rescuers, Sapho recognized her father, the old driver. Ashamed, she dreaded that Jean's refined nature would take umbrage at the new stain. The initial frail link has been turned into a solid chain that nothing can break. At times Jean is indignant and revolts, but Sapho always gets the better of him. After some high words with Sapho, and on the invitation of his uncle Cesaire, Jean takes a trip to his home. As soon as he returns, Sapho regains her hold on him. Rosario Sanchez, a former friend of Sapho, whom she has made stewardess of her mansion, invites Jean and his mistress to luncheon. On that occasion, Rosario introduces Jean to DePotter, the celebrated musician. Sapho's friends make fun of her disinterested love. Disgusted at his bondage, DePotter tells Jean, as an example of what he is to expect of the hard life he leads with Rosario. A few days later, it is decided to leave the mansion and go to live at Chaville, close to the Hetteman's. At the pressing request of Sapho, Jean adopts a child, in total ignorance that the child is the son of Flamant, condemned for forgery. That day, in celebration of their installation at Chaville, they all have a picnic in the woods. It is there that they meet Irene Bouchereau, niece of the family doctor. This causes a terrible quarrel, which is only stopped by the sound of Hetteman's horn. One day Dr. Bouchereau meets Jean in a train and invites him to his house. The young people are pleased with each other. Then comes Jean on the eve of marrying the doctor's niece. Sapho compels him to give up all thoughts of marriage. Recognizing that his life is irretrievably bound with that of Sapho, Jean announces to his family that he is going abroad with his friend. His family reproaches and even curses him, especially his father. However, he learns that his mistress has received a visit from her former lover, the father of the child, and maddened by jealousy he insists that Sapho go with him to America. Fortunately for him, it is she who leaves him.

Dir: Emile Chautard

Jim Blake, the playboy son of a New York millionaire, heads west to prove himself a man. He goes to work on his father's ranch in Wyoming, and eventually wins over the locals by turning the tables on a town bully and trying to collect damages from a railroad magnate, whose trains have killed many of the Blake ranch's cattle. When the railroad refuses to pay, Jim comes up with a plan that will make them pay far more than they originally had to. Problems arise when he falls in love with Alice, the railroad magnate's daughter.

Dir: Emile Chautard

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

A reminiscence of her act ten years ago, recalling how she had secretly married Jean Roussel, flashes through the mind of Mathilda, daughter of Professor Stangerson, when her father asks her to become the wife of Robert Darzac, and how their wedding certificate could not be filed as her husband was imprisoned for passing counterfeit money. But she soon dismisses the horror upon the thought that Roussel must have been dead (she never having heard from or of him) and at last consents to the announcement of her betrothal to Darzac. Roussel, however, was still alive and soon learns of the engagement of Mathilda. By a subterfuge he manages to get a note to her telling her that he still loves her and begging her to flee with him to America. Mathilda was too frightened to answer, so Roussel in a jealous rage goes to the residence of Mathilda and hides in the yellow room occupied by her. Mathilda, who had been out walking with her father and fiancé, returned and feeling tired goes direct to her room, where she comes face to face with Roussel, who cautions her not to utter a word of alarm. But Mathilda was very much afraid and screams. In order to stop her, Roussel chokes her into unconsciousness and leaves her for dead. That evening as she joins her father he notices that she is unusually pale and advises her to retire early. She does and no sooner had the household retired when a shot comes from the room of Mathilda. Upon investigation the father finds that his daughter is lying unconscious upon the floor with a deep gash in her head, but no trace of her assailant could be found for the doors and windows were all locked from the inside. Professor Stangerson places the solving of the mystery in the hands of Rouletabille, a noted detective, and inspector Larson, They are given adjoining rooms in the Stangerson castle, and in his work of unraveling the enigma, Rouletabille finds under the bed of Mathilda a hair and a bloody handkerchief. Then Mathilda receives another letter from Roussel, which makes her change her room. At midnight the detective hears sounds coming from the yellow room, and stations Larson and the professor at both ends of the gallery, but no one is found. Previously the detective had caught a glimpse of a bearded man and has come to the conclusion that he must be in the house. He is also surprised to learn that Larson's hair is the color of that which he had found in Mathilda's boudoir. Larson, who was none other than Roussel, sends Mathilda another note and fearing the surveillance of Rouletabille, he invites the detective to supper in his room. He drugs the wine which is drunk by the detective, and as the latter is examining Larson's hair he notices a bad wound in the inspector's hand and then falls unconscious. Rouletabille's assistant brings him around, and after forcing from Larson the marriage certificate deliberately gives him a chance to escape. Then the detective gives Mathilda the unrecorded marriage document, the destruction of which means her freedom to marry Darzac. The mystery of the yellow room was cleared by the detective's remarkable deduction which shows that the deep gash in the head of Mathilda had been caused by a vision of her assailant and she, in a subconscious state, had discharged the revolver in self-defense and in falling had landed against a table, and the ugly wound in Larson's hand had been done when she had her encounter with him in the yellow room.

Dir: Emile Chautard

The productions from Thanhouser's mature period, 1915-1917, clearly show the advancements that set the stage for the first cinematic golden age, the 1920s. Such advances are evident in this surviving shortened version of "Fires of Youth": detailed character development by veteran actor Frederick Warde (and in a smaller role, at least in the shortened version, by Jeanne Eagels), mature editing techniques, special lighting effects, intelligent story development, realistic use of locations, fluid dialogue inter-titles, complex staging and access to better cameras with the defeat of the Patents Trust. Acclaimed French stage and film director Emile Chautard was brought from Éclair studio in France to direct.

Dir: Emile Chautard

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

Although he is a successful architect, devoted family man Robert Crewe does not earn enough to cover the expenses of his wife Marion and daughter Emily. Unknown to him, his Uncle Abner wants to ruin him because Robert's father stole Abner's fiancée, who died in childbirth after their marriage. Abner hires a beautiful seductress to break up Robert's happy home, but she is unsuccessful. Abner, who dies prematurely, leaves Robert his fortune, hoping that it finally will lead to Robert's downfall. As Robert and Marion drift apart, Emily is left in the hands of an uncaring nurse and cries herself to sleep each night. Robert has an affair with a Broadway actress and Marion becomes romantically involved with a prominent sculptor. Robert squanders his inheritance and involves himself in highly speculative business investments until, threatened with Emily's death, he and Marion finally decide to change their lives and bring the family back together once again.

Dir: Emile Chautard

General Wayne, a proud old American patriot, and his two sons: Captain Stephen Wayne, an army officer, and Anthony Wayne, a successful young portrait painter, valiantly maintain the tradition of the Wayne family honor. Anthony is engaged to Doris Leighton, a girl of refinement, but he becomes infatuated with Marcia Quesnay, emotional actress and enchantress. He disgraces his family by his devotion to her, and, lured on by her demands, abandons his promising career. Stephen Wayne, meeting her in an endeavor to compel her to release Anthony from his unfortunate entanglement, falls sincerely in love with her and she with him. Later, with the dawning of this first real love of her life. Marcia renounces her butterfly life and becomes a tender and self-sacrificing woman. She returns all of Anthony's gifts, giving them to Stephen for safe keeping. In order to disillusion Anthony she causes him to believe she is only a common woman and he turns from her in disgust. Led on by Eric Mainwaring, an actor in love with Marcia, who tells Anthony that Marcia is a woman to be bought and not loved, Anthony is persuaded to steal from his father's safe government funds placed there by Stephen, and is cheated of the money at cards by Eric. Stephen, discovering the theft, goes to Marcia's apartment to confront her with the result of her influence over Anthony, and is there in time to rescue her from Eric, who comes with the money he has cheated from Anthony, to persuade Marcia to go abroad with him. Stephen forces Eric to disgorge the stolen funds and to leave in fear o£ the authorities. The following morning Anthony, penniless, an outcast and a thief, is saved from committing suicide by Doris. His father discovering the theft and accusing Anthony, urges him on to suicide, telling his son that honorable death is better than a life of dishonor. Stephen arrives with Marcia in time to avert the tragedy, telling a lie to save Anthony in the eyes of his father and Doris, that it was he (Stephen) who took the money from the safe, at the same time producing the bills to substantiate his claim. A general reconciliation follows. When his father sees Marcia standing beside Stephen he fears that this other son has been ensnared, but Stephen tells them that they have all misjudged her, and that she is going to enhance the family honor by becoming his wife.

Dir: Emile Chautard

Henri is surrounded by fawning courtiers, who hide behind their smiles a deadly intent to do away with him at the first opportunity in favor of his brother, Duc d'Anjou. There is but one man who is honestly Henri's friend. This man is Chicot the Jester, a huge, handsome, fearless fellow, true as steel, to those who called him friend, deadly as venom to those who dared betray him or his sovereign, and the only person who may speak the truth to the king. Chicot the Jester is given an order by the king for the arrest of the gallant Count De Bussy, whose deserved popularity with the ladies of the court irritates the petulant Henri constantly. Chicot the Jester had the courage of his convictions; he was a man who dared. Knowing his friend De Bussy to be guiltless, he tore the court order into shreds and ordered De Bussy into retirement at the peaceful castle of Baron de Meridor, whose beautiful daughter, Diana Chicot, knew to be the adored one of De Bussy's heart. How De Bussy complied; how he was waylaid by the king's men within Diana's gates; how Diana nursed him secretly; how the uncouth Count de Monsoreau had the beauty kidnapped upon De Bussy's return to court; how De Monsoreau married her before Chicot, who had overheard the plot could interfere.