The Essential Watchlist that Capture the Essence of Man Bait: Cult ...

Dir: Donald Crisp

Joe, a good natured Italian, runs a basement ice, coal, and wood establishment in the cheap Italian "East Side." Trina, daughter of old Capino, a cobbler, lives next door. She is fond of Joe and is relieved when she learns that Joe's "sweetheart," who arrives from Italy, is none other than his little old "Mama Mia," his mother. Godfrey Kelland, district attorney, is a candidate for the governorship, and Joe's sympathies and efforts are enlisted in his behalf. The Weasel, a notorious crook, is arrested as he seeks refuge in Joe's house, and suspicions are cast upon Mama Mia. Just at this time Mrs. Kelland loses a diamond pin which is discovered in Mama Mia's possession. Baby Kelland has placed the pin in the basket of clothes which Mama Mia is to wash and she is found "guilty" and sentenced to two years in the penitentiary. In the meantime, Joe and his mother have witnessed an attempt upon Kelland's life and assisted him, but nevertheless Kelland is vigorous in his prosecution of Mama Mia. A little later Mrs. Kelland discovers the baby putting another piece of jewelry in the basket and she decides that Joe's mother is innocent. Two crooks from the gang determine to put a stop to Kelland's activities and to "plant" a golf ball filled with nitroglycerin so that Kelland will be blown up as by an unknown accident. They play upon Joe's feelings and induce him to place the ball. Just as Kelland is about to strike the ball, Mrs. Kelland and Trina come into the grounds, and to save them Joe takes the blow upon his own body. Joe's confession that the ball was intended for him incites Kelland's anger, but Mrs. Kelland's story of the baby's innocent part in the tragedy, and her pleadings, soften the politician's heart, the little Italian family is reunited, and Trina's happiness also secured.

Dir: Donald Crisp

In the mining town of Gunsight, an unscrupulous lawyer named Andrew McBain applies the obscure "Apex Law" to trick Rimrock Jones out of his newly discovered copper mine. Undaunted, the reckless young prospector locates an even richer mine. Having no money to develop the Tecolote, Rimrock borrows $2,000 from stenographer Mary Fortune, who, when the mine proves its worth, decides to retain a vote on the board rather than take back her loan. Plagued by deafness, Mary travels to New York to consult a specialist, followed by Rimrock, who now loves her. Stoddard, a Wall Street financier who has designs on Rimrock's mine, hires a vamp named Hazel Hardesty to detain Rimrock in the East, but Mary returns to Gunsight in time to prevent Stoddard from taking control of the Tecolote. Rimrock reappears to save Mary from Stoddard's gang, after which he locks the loyal Mary in an embrace.

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

Dir: Donald Crisp

Self-effacing Simpson Hightower leaves his small village after he loses his father's canning factory to Stephen Douglas, who also wins Simpson's plump girlfriend Tiny. Simpson then goes to work in a New York provisions office along with stenographer Hope and office boy Jimmy. Hope and Jimmy scheme to introduce Simpson as a silent partner when the Danish consul proposes a large contract. After a series of errors, Simpson is discharged and persuaded by his friends to return to his home town posing as a successful businessman accompanied by his secretary "Pep" and valet Jimmy. With their help, Simpson manages to get the Danish contract and buy his factory back. He also outgrows his love for Tiny, who has gained even more weight, and recognizes his love for "Pep."

Dir: Donald Crisp

The Firefly of France, a famed Allied airman in the First World War, is lost while transporting valuable plans, and it is feared that he and the plans are now in the hands of the Germans. A member of the Lafayette Escadrille endeavors to find the Firefly and the plans, but encounters a mysterious girl and several German spies who want the same thing.

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

Dir: Donald Crisp

Mr. Kendall, a wealthy man who had sent his infant son to a home after the death of his mother at birth, decides that it is time for his son to come home. On his carriage ride to the father he has never seen, however, the boy mysteriously disappears. At the same time, a woman deposits a little boy on the cart of Italian junk man Niccolo Darini, and then disappears. Niccolo becomes strongly attached to the waif, and although his neighbors advise him to take the child to the police, he refuses. Kendall posts a reward notice in the paper for the return of his son, and when Niccolo's rival for the hand of the beautiful Nita Lapi reads the notice, he tells the police of Niccolo's ward. Niccolo is forced to give up his little charge, which breaks his heart. However, the Kendall's rightful heir is found when a beggar, run over by a car, confesses on his death bed that the child with him is really the Kendall boy. Niccolo's beloved ward is then returned to him, along with a check from Kendall for $5,000 dollars. Niccolo's happiness is made complete when Nita agrees to marry him.

Dir: Donald Crisp

The most popular man in the lumber camp near Quebec is Jean, the cook, whose flapjacks are celebrated for their delectability. Jean's compassionate nature is aroused when a dejected stranger known as Silent Jack comes to the camp. Discovering Jack crying one day, Jean learns that his wife has left him. To reunite the couple, Jean pretends that he too is married and induces Jack to write an affectionate letter from him which he then presents to Mrs. Jack. The ruse reconciles the couple, but distresses Jean's sweetheart Marie when she learns that Jean already has a wife. Jean finally explains everything satisfactorily to Marie, and after the two are married, they leave for the city to open a flapjack palace financed by the grateful Jack.

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

Dir: Donald Crisp

Giuseppe Franchini lives with his little daughter Francesca and pet bear Bruno on the Italian coast. One day, Giuseppe sees a shipwrecked man offshore and swims to his rescue, but in doing so, he is carried out to sea. Upon his return, he finds that his wife has died of shock at the news of his drowning, and the stranger has taken away the little girl. Years later, Giuseppe travels to America with Bruno where they are arrested for invading an apiary on the Vandergrift estate. Giuseppe is befriended by Vandergrift's daughter Adelaide, but Bruno is sent to jail for his crimes. To pay Bruno's fine, Giuseppe takes a job in a roadhouse owned by John Slade. Here, he learns of Slade's plans to smear Adelaide's fiancé, Craig Winton, the reform candidate for mayor. Giuseppe presents proof of Slade's corruption to Adelaide, who turns it over to her father. When Giuseppe meets Vandergrift, he recognizes him as the man he rescued, but, realizing that Adelaide is happy in her life, he leaves town without letting her know that he is her real father.

Dir: Donald Crisp

A young woman, disheveled and greatly distressed, stops criminologist Marcel Levington on the street and begs him to find a doctor for a man who is dying inside a nearby house of ill repute. Marcel and his friend, Dr. Rogers, enter the house and find the man, a prominent lawyer, dead, his heart pierced by a hatpin that the doctor recognizes as the one he recently gave his daughter Toinette. Rogers announces that the man has died of heart failure, returns home and demands an explanation from his daughter, who explains that she was lured into the house and attacked by the man. Realizing that Toinette killed the lawyer to defend her honor, Rogers and Marcel agree to protect her. Marcel retrieves Toinette's pocketbook from the proprietor of the house, Mrs. Clifton, who had planned to blackmail the girl, and then returns to Toinette, with whom he has fallen in love.

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

Dir: Donald Crisp

Marcellini, a successful wine dealer, has a sudden heart attack and dies. His will leaves his entire fortune to his only kin, a husband and wife who operate a small farm. Guido, the husband, agrees against his better judgment to move on to the Marcellino estate. Before he knows it he is up to his neck in marriage troubles, people trying to swindle him out of his inheritance and blackmail.

Dir: Donald Crisp

While Bill Burnham is jailed for drunkenly shooting up the town, he receives a letter saying that his father has died, his sister Janet is about to marry a worthless count, and the family fortune is in danger. Unable to leave, he convinces his friend, Johnny Wiggins, a motion picture cowboy, to go to his home in Palm Beach, which Bill left as a boy, and impersonate him. Although Johnny's Western manner irritates Janet and her aunt, they put up with him because Bill's sanction for Janet's marriage is needed for her to receive her inheritance. When the count discovers that Johnny is not Bill, he tries to elope with Janet, but is prevented when Johnny lassoes him from his moving automobile. After Johnny forces crooked broker Milton C. Milton, at gunpoint, to make restitution for the losses Janet suffered through Milton's bad stock investments, Johnny marries Ruth, the maid, and leaves, promising that when Bill returns, things will get livelier.