Recommendations
Senior Film Conservator

If you found yourself captivated by the stylistic flair of Marie, Ltd. (1919), the profound questions raised in 1919 still require cinematic answers today. Experience the United States influence in these recommendations that echo Marie, Ltd..
Marie, Ltd. remains a monumental achievement to provide a definitive example of Kenneth S. Webb's stylistic genius.
After growing up in the West with her father, Drina Hilliard travels to New York to surprise her mother Marie, whose profitable Fifth Avenue millinery store has provided the means for Drina to go to college. Arriving while Marie is vacationing in Atlantic City, Drina discovers that Marie greatly overcharges her customers, then splits the profits with the women whose rich husbands or lovers pay. When Marie returns, she tries to get Drina to marry Colonel Lambert, an old rounder who pays the bills for a dozen women's hats, but Drina, attracted to Blair Carson, who drove bandits from their New York-bound train, refuses the colonel. After Drina sees Blair with Zelie, a showgirl the colonel has cast off, and realizes that Marie is ill and on the verge of bankruptcy, she nearly accepts the colonel's proposal, when Blair appears and confesses his love. Marie vows to run her store legitimately, and the colonel and Zelie console each other over their losses.
Based on the unique stylistic flair of Marie, Ltd., our vault has identified these titles as the most compelling follow-up experiences for fans of cult cinema:
Dir: Kenneth S. Webb
To help her husband keep his job, a woman gives in to her employer's advances. When the husband finds out, he kills his rival.
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Dir: Kenneth S. Webb
Mary Horton, a country girl, moves to New York to make her living as a seamstress, where she meets Hilda Newton, an old neighbor who has renounced her country ways for the immoral life of the city. Mary moves in with Hilda and meets Bob Merrick who, charmed by the girl's innocence determines to protect her. Just as she is about to succumb to evil influences, Mary is called home to her mother's sickbed where she is denounced for her evil ways by her former sweetheart, Horace Worth. However, when Hilda's friends decide to visit Mary, Bob Merrick defends her reputation and proposes to her. The couple decide to remain in Mary's country village, while Hilda and her friends return to the city.
Dir: Kenneth S. Webb
Felicia Day is brought up in seclusion by her affectionate but narrow-minded grandfather, Major Trenton. One day, Dudley Hamilt, a choirboy, throws his ball across the fence which separates the rectory from the Trenton yard and meets Felicia, from whom he steals a kiss. Trenton sees the children smooching and, shocked, sends Felicia to Canada. Years pass and Felicia, now an adult, decides to go to New York and make her living as a seamstress. She still yearns for Dudley but decides against seeing him because of her old-fashioned wardrobe. Possessing a natural talent for dancing, Felicia is offered a job by lecherous theatrical manager Allen Graemer, and she accepts. Dudley, attending one of her performances, recognizes his long-lost love and follows her home where he rescues her from Graemer's advances and admits his enduring love for the girl from whom he stole a kiss.
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Dir: Kenneth S. Webb
Eddie Gillian, a wild young New Yorker, lives well on a generous allowance given to him by Old Bryson, his crabby uncle. Eddie loves Bryson's ward, Margaret Hayden, but spends most of his time with Lotta Lauriere, a burlesque queen. After Bryson's death, Eddie is shocked to learn that he has been left only $1,000, which the will advises him to spend prudently and unselfishly. When Lotta discovers this and deserts him, Eddie gives the money to Margaret, who has inherited only $10, telling her that it is rightfully hers. Bryson's lawyer then informs Eddie that he will inherit half a million provided that he spend the $1,000 generously, and although Eddie attempts to turn that, too, over to Margaret, she agrees to share it with him as his wife.
Dir: Kenneth S. Webb
A fascinating piece of cinema that shares thematic elements.
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Dir: Kenneth S. Webb
Impulsive flapper Elizabeth Winthrop, rebels against her parents and moves to New York after breaking with her fiance, Clayton Webster. Hugo Von Strohm, a wealthy playboy, procures Elizabeth a job as a chorus dancer and secretly pays her salary. After he tries to seduce her, Elizabeth sees through his kindnesses and returns to her parents and Clayton.
Dir: Kenneth S. Webb
An artist pretends to be a valet to escape a woman's advances. He marries another woman but must keep painting in secret to make enough money.
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Dir: Kenneth S. Webb
Ruth Hamilton, from a wealthy aristocratic family, cares little for society or its conventions and refuses the proposal of William Barton, a socialite of her parents' choice. While giving some poor children an outing on a beach, Ruth meets John Martin (Miles?), a young nouveau riche with no social standing who is snubbed by the aristocratic circles, and begins to visit him secretly. When Ruth visits John to show off a new costume, her father arrives to seek his financial aid. Ruth escapes, but she is observed by Barton, who informs her father. Hamilton insists that Martin marry his daughter, but Ruth refuses to be compromised by her father. Later, however, she consents to marry John, discovering that he really loves her.
Dir: Kenneth S. Webb
Young Nell loses her job and home and her father is sent to prison. She joins the Salvation Army and tries to redeem him when he comes out bent on continuing his life of crime.
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Dir: Kenneth S. Webb
Margherita, an Italian girl, comes to America to avenge the murder of her fiancé by the mysterious Cardi.
View DetailsAnalysis relative to Marie, Ltd.
| Film Title | Atmosphere | Complexity | Similarity |
|---|---|---|---|
| The Devil's Garden | Gritty | Linear | 97% Match |
| Sinners | Gritty | Abstract | 92% Match |
| The Stolen Kiss | Gothic | Dense | 92% Match |
| One Thousand Dollars | Tense | Dense | 89% Match |
| Tobin's Palm | Gritty | Linear | 96% Match |
This guide was algorithmically generated using the cinematic metadata of Kenneth S. Webb's archive. Last updated: 6/26/2026.
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