Rare Cinematic Gems Sharing the Atmosphere of Minuit... place Pigal...

Dir: René Hervil

Suzanne Daubray, whose brother went off to war, is courted by the Prince of Sylvania who is engaged to Princess Sonia.

Dir: René Hervil

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

A fascinating piece of cinema that shares thematic elements.

Dir: Dallas M. Fitzgerald

Confidence artist Flossie Golden attempts to fleece foolish but wealthy James Venable with a breach-of-promise suit. Venable's shrewd attorney, Richard Harding, outwits Flossie by proposing that she marry Venable and live on an allowance of $3,000 per year. Flossie is determined to get even with Harding for ruining her plans. In an attempt to con him, she poses as Innocence Page, but falls in love and marries him instead. Larry, Flossie's former accomplice, endeavors to blackmail her with her errant past, but Harding is already cognizant of the facts and Larry fails.

Dir: Edgar Jones

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

A mail-order bride arrives at a Maine lumber camp but doesn't like her prospective husband.

Dir: René Hervil

Jeanne Doré's profligate husband is hopelessly addicted to gambling, and is threatened with expulsion from his club because of his heavy indebtedness to another gambler member. Confessing his disgrace to his wife (Mme. Bernhardt), she offers to save him from disgrace by selling her jewels. With the money thus obtained he goes to his club, determined to pay his debts and live up to the pledge he has made to his wife to gamble no more. However, the lure of the roulette wheel overcomes his resolve; he loses all his money on "just one more turn of the wheel," and rather than face his disgrace, commits suicide. Left with her young son to support, Jeanne Doré is forced to sell her remaining possessions and live as best she can until her husband's uncle takes pity upon her and buys for her a small stationery shop in Paris. Here mother and son prosper until the boy reaches early manhood. One day he falls suddenly and violently in love with a married woman, who comes to his mother's shop to make purchases. An intrigue with the unscrupulous female leads the young man to murder the same uncle who had befriended himself and mother. The youth, with the assistance of Jeanne Doré, makes good his escape. Well clear of immediate capture, the boy comes back to the scene of his crime and succeeds in his efforts to once more affect a liaison with his mistress. By accident he is discovered and captured, thrown into jail, is tried and convicted of the murder and sentenced to the guillotine. Even in these desperate straits he seeks to gain some response to his affection for the woman, who promptly spurned and repudiated him. He prevails upon his devoted mother to become a messenger in his service and her appeals, likewise, fall upon deaf ears. Instead of telling the boy that her quest has been fruitless, Jeanne Doré goes to the prison herself, on the evening before the boy's neck is to be given to the knife, and poses as the woman he had expressed himself, to his own mother, as the one he most wished to see. The boy goes to the guillotine, and the final scene depicts the devoted mother in the extreme agony of watching, from a window across the street, the execution of her son.

Dir: F. Martin Thornton

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

In Paris an orphan cartoonist loves a man with a mad wife, who dies in time to prevent her marriage to a jilted Comte.

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: René Hervil

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

Fabio Romani is the husband of beautiful Nina, an Italian girl. They have a charming daughter, Stella by name, and their life in Naples on Romani's great estates is one of love and happiness. Both husband and wife are fond of Guido Ferrari, who is a constant visitor at their home, and whose friendship for Fabio has been lifelong. A great cholera plague ravages the populace of Naples and Fabio one day decides to go to town in spite of the danger, on an errand of importance. On his return he is seized with the cholera, and drops to the street. He is picked up by the hooded doctors, pronounced dead, and, as a precaution against infection, his body is immediately placed on a cheap wooden casket and buried in the long disused Romani family vault. After some hours of apparent death his body stirs. He breathes, feels, moves and his casket slips from the niche and falls to the floor of the vault, taking with it a coffin that had lain undisturbed for many centuries on a lower tier. Romani struggles to his feet and the truth dawns on him. He immediately plunges into the casket now broken open and finds tremendous riches in gold, silver and diamonds with a note stating that they had been placed there by a pirate many generations ago. Almost overcome by his adventure, and suffering an agony of mental torture, Fabio's hair turns white in a single hour. He finally breaks free of the tomb and rushes through the garden to his mansion. From behind an ornamental column he sees his old friend Guido embracing his wife and determines upon a horrible revenge. He hurries to the nearest town, buys a pair of green spectacles and a suit of clothes. Armed with almost inexhaustible riches of the treasure chest, he assumes the name of Count Oliva and after a lapse of time, returns to the scene of his misfortunes. He succeeds in obtaining an introduction to Guido and in course of time the two become fast friends. He professes himself to be an old friend of the dead Count Romani's father. In course of time he meets his faithless wife and soon becomes an almost daily visitor at his own home. At this time his child Stella is taken sick and dies. Before the little girl passes away, Fabio makes himself known to her. The wealth of Fabio dazzles Nina and, being faithless, selfish and mercenary, he has but little difficulty in laying the foundation of his vengeance. Guido leaves town for a period and during the interval, Fabio receives the consent of Nina to become his wife and to jilt Guido. Fabio then announces a grand dinner in honor of Guido's return and, at the psychological moment, announces to the assembled guests the engagement of himself and Nina. Guido, stung to the quick, strikes Fabio and a duel follows, in which Guido is mortally wounded. Before he expires, Fabio removes his green glasses and reveals his identity to the dying Guido. The night of the wedding arrives with its hundreds of guests. On that night just before the supper, Fabio takes Nina by the hand and leads her to the vault, telling her that he will show her the source of his fabulous wealth and the ever mercenary Nina follows to the door of the vault where she hesitates. Fabio seizes her and throws her through the open door and then follows himself. Safely in the vault, he discloses his identity and the shock drives Nina insane. The sight of the once beautiful woman now a crazed being with distorted face, playing among the jewels in the treasure chest, almost causes Fabio's cold heart to relent. Suddenly the earth moves beneath them. There is a rush and roar of crashing pillars, a mighty stone hurtles through the roof of the tomb, striking Nina and killing her instantly. Fabio, believing it the vengeance of the Gods, rushes from the mined vault in panic. Thus is the Vendetta accomplished.

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

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.