Curated Recommendations Similar Cinematic Experiences to Miss Nobody: Cult Guide

Dir: Francis J. Grandon

When wealthy Wall Street stockbroker Stephen Duane neglects his wife Julia for business, she consorts with philanderer Bert Brockwell. Finding them in an embrace forced by Brockwell, Stephen denounces Julia and leaves. After losing his fortune in the market, Stephen refuses Julia's offer to sell her jewels, and stays away for one year, while she opens a successful millinery store and has a baby. Despondent, Stephen decides to shoot himself, but when he hazily imagines Julia entering and catching his dead body, he drops the gun and decides to renew his life. After Jonathan Cosgrove, a friend, gives him $5,000 and a room in his home, Stephen discovers Brockwell in Mrs. Cosgrove's bedroom, forcing himself on her. Stephen hurls Brockwell through the window and then, to save Mrs. Cosgrove's reputation, allows Jonathan to think that he is the guilty party. After Mrs. Cosgrove discovers that Brockwell is a forger, she confesses to Jonathan, and arranges a meeting between Stephen and his wife and son that ends happily.

Dir: Francis J. Grandon

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

The story opens in the office of an oil company. The president received a letter from a friend notifying him there is oil in the town of Glory. He forms a dummy railroad company and sends a representative to Glory to get rights to the property by promising that the dummy company will establish a station at Glory. While getting the rights to the property, the oil representative goes through what he supposes a fake marriage with the postmistress of the village. Time passes and the postmistress leaves the village for a neighboring town, where she gives birth to a child. Unable to support the child, she brings the baby to the village hotel run by two Germans, and, under cover of darkness, leaves the baby there. The baby is adopted by the village, named Glory Glory, and brought up by the two Germans. In the meantime the mother has made her way to the city and drops from exhaustion in front of the president of the oil company's house, when she is picked up and carried in. Upon examination by the doctor he finds the fall has caused her to lose her memory. The president is a widower and upon the woman's recovery decides to have her stay as governess and bring up his young son. Several years pass by and both Glory and the president's son are grown up. They accidentally meet and fall in love. The oil company decides to take possession of the property at Glory and then a fight ensues, the son taking sides with the girl he loves and her people. During the lapse of years the man who put through the original deal for the oil company and who married the postmistress has risen to be a judge. The case is brought before him and he dismissed the charges of the citizens of Glory. The son decides to assist and steals the papers relative to the case. The judge and president of the company finally decide to make restitution. The marriage is found to be legal. The people get the oil property back, and Glory is happy with her sweetheart.

Dir: Francis J. Grandon

Jean Servian's eyesight is failing and is desperate for money, marries wealthy widower Geoffrey Vane after telling him that he must be satisfied with her gratitude rather than her love. Then, following an affair with artist Philip Derblay, who finally leaves her, Jean settles down to a quiet, boring life with Geoffrey, who knows nothing about her failed romance. Years later, however, after Lucille, Geoffrey's daughter by his first wife, becomes engaged to Philip, Jean feels compelled to tell the story of her own affair with him. The disclosure has little effect as Lucille makes no change in her wedding plans, but then, when she breaks in on a violent argument between Philip and Lucille, Jean accidentally shoots and kills her former lover. A trial results in her acquittal, however, after which Jean realizes that she really does love Geoffrey, who easily forgives his wife for her past indiscretion.

Dir: Francis J. Grandon

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

Nora, a girl of the lower East Side of New York City, marries a rising ward politician. A child is born. They are happy, but the young politician is running for office against the old ward boss and has to be out every night. The wife becomes jealous of a certain woman. Nora's child dies. Things get worse for her as jealousy and the seeming neglect of her husband increase. She finally leaves him and becomes a model for a noted painter. The husband finds where she is, but makes no attempt to force her to return to him, though he still loves her. One of the artist's friends, a magnate in the motion picture business, promises her a chance. Her rise to stardom is quick. The climax of the story is a struggle between the old love and the new fame. She does not know that the politician has become a first-class lawyer. Finding that the old love and the new fame are not incompatible, she is reunited with her husband.

Dir: Francis J. Grandon

Bessie, a girl of the slums, is left an orphan. Her father was a drunkard and during one of his periods of intoxication he killed his wife and then, in trying to escape, was himself killed. Left destitute, Bessie is invited by a couple of youngsters to keep house for them. The two boys earn enough money selling papers to keep up the little establishment and Bessie does the housework. One day as she is playing in the street she is run over by an auto belonging to society lady Mrs. Latham, who feels sorry for her and visits her at the hospital where she is taken. On leaving the hospital Bessie goes to see the wealthy widow, who procures her a position at a modiste's shop. A couple of months later Bessie goes to a cheap dance hall with a friend, where she is noticed by theatrical agent Abrams, who offers her a job as a cabaret dancer and she accepts. While dancing in the cabaret she is noticed by wealthy clubman Shirley Martin, who says that he will make her a great dancer. He introduces her to a manager and all arrangements are made for the Broadway production. Shirley expects a price for his favors, but to his chagrin, he discovers that Bessie is incorruptible. Bessie's debut as a dancer is a success. Mrs. Latham, who has designs on Shirley's money, is jealous of the attentions he is paying the little dancer. She plans to so compromise her that his love will be cured. Accordingly, she invites the two of them on a weekend trip to the country and then, at the last minute, does not go herself. When the two young people arrive at the hotel, they find rooms engaged for Mr. and Mrs. Shirley Martin. When Bessie confesses that she loves him, he tries to force his attentions on her, but she repulses him. Then Shirley realizes that he has acted like a cad and when he asks her to marry him the next day, she agrees. Meanwhile, Mrs. Latham has written a note to Old Man Martin saying that Bessie is trying to ruin his son's life and that if he does not want a scandal, he must go at once to the hotel where they are registered as husband and wife. Martin hurries down and finds them there the next day. He accuses Bessie of having designs on Shirley and forbids the marriage. So Bessie, thinking that perhaps after all, the marriage would not be for the best, agrees to go away. When Shirley finds out what his father has done, he is furious, and says that he will not come home until his father consents to the marriage. But he cannot find Bessie, as she has left without giving anyone her address except old Martin. But at the Martin home, the mother has become ill, and the doctor thinks that the only thing that will save her life is a reunion with her boy. So Mr. Martin hunts up Shirley at the club and persuades him to come home for the sake of his mother, and then he goes to find Bessie. Of course the two are reunited and agree to have the long-delayed wedding take place at once.

Dir: Francis J. Grandon

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

The Merediths, in reality much in love, have quarreled and agreed to separate but cannot agree as to the disposition of their little daughter Beryl. All this is opportune for the plans of Spider, a notorious kidnapper and his gang, who plot to steal Beryl while her nurse flirts in the park with one of their pals. The scheme works out as they plan and the child is taken to a deserted gambling den. The father and mother, in desperation, each apply to Babbings, a celebrated detective, although each accuses the other of haying kidnapped the child. Babbings privately suspects Spider's gang, whom he knows to be in town, but intends to make sure, so he has Spider shadowed. His men discover that Spider is receiving telegrams in code. It is necessary to get this code, so Babbings and one of his trusted men go to the hotel where Spider is stopping. Here they are at a loss until Barney, one-time messenger boy, comes whistling into their office to apply for a position with "reglar deetectuvs," and carries Babbings' bag to the hotel. Babbings has noticed the boy's shrewdness and asks him what he can do. Barney replies that he can "hold his tongue and talk deaf and dumb." This appears to please Babbings, who hires the boy at once and starts him to work by telling him to get the code book from Spider's room. The lad, disguised as a bellhop, accomplishes this and Babbings tells him the real plan, which is for Barney to masquerade as a wealthy deaf and dumb boy going to a sanatorium with an attendant. Spider will undoubtedly think this is a nice morsel for himself and will take Barney to the spot where he is hiding little Beryl, thinking to receive still another big ransom. This happens as Babbings has foreseen and Barney finds himself in the deserted house with little Beryl and Spider's gang. He manages to phone his information to Babbings in the night and the latter comes to the house disguised as a member of the gang. He gives the password and all would have been well had not Mrs. Meredith, summoned by the gang for the purpose of wringing money from her, entered and exclaimed his name, warning the crooks. They succeeded in making a getaway, but take Beryl and Barney with them. Barney is nearly discovered in his efforts to speak to Babbings but manages to disarm their suspicions and later signals to a small town sheriff whom he sees reading the notice of the thousand dollar reward offered by the Merediths. The sheriff, however, objects to sharing the reward with Barney and locks him and Beryl in a room while he goes to town to get it. Barney escapes, however, and an automobile race to town follows in which Barney is the victor by a few seconds.

Dir: Francis J. Grandon

The daughter of an adventurer in India is kidnapped by a native king, whom she is forced to marry. She has several adventures battling natives and wild animals.

Dir: Francis J. Grandon

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

Concerned that she will ruin the Rev. David Warwick's career by marrying him, actress Letty Noon accompanies her fiancé to the home of Pastor and Mrs. Holbrook to seek advice. In answer to their question, the old parson narrates the story of young Jim Brown, a minister who resolves to reform the rough miners in a small Western town. His strength and dedication deeply impress the townspeople, but his sermons seem to have little effect on "Wild Honey," a dance hall girl who resents his constant admonitions. Wild Honey secretly loves Rev. Brown, however, and after she impulsively kisses him, he forgets his preaching and thinks only of her. One of Wild Honey's jealous suitors frames the reverend for murder, but she clears his name and, later that night, tells the parson of her love. Hearing her declaration, another rejected suitor attempts to shoot Rev. Brown, but Wild Honey shields him and is seriously wounded. The reverend then takes her to another town, where they happily grow old together.

Dir: Francis J. Grandon

After Kathlyn's seemingly marvelous escape from the Temple of the Lion, where she almost became a victim of fanatical men, not to remark the hungry and marauding lion, she is still followed by the wild beasts that rove in that vicinity in search of prey. She realizes her peril through some keen second sense, and eventually makes her way by woodcraft to a tree, at the base of which is an idol. This being in the nature of a votive shrine. It is frequently visited by the Pilgrims and pious Parsees, who offer prayers for protection from the beasts of the jungle and also leave peace offerings in the form of food. Above in the branches of this spreading tree is propped a rude hunting booth, where the native hunters have been accustomed to watch in security for the stalking game that prey upon one another in the depths of the jungle. This umbrageous tree seems to have kindly shadows, and Kathlyn takes refuge among its branches, exhausted after her terrible flight through the tangled woodlands. Unarmed, she realizes that she must now depend upon her woodcraft and fleetness of foot to avoid the dangerous inhabitants of that neighborhood. With this idea in view, she weaves for herself a dress of fibrous grass that blends with the flora and the branches of the trees, just as the markings of many wild animals does, comporting with their environment, giving them unconscious security. She completes this garment none too soon, when the carnivora which has been upon her trail, rounds up at the base of the tree and settles down with fearful roars and snarling, warning her that it is time for her to look to her safety. She is so surprised that in her haste to get away she drops her tattered and discolored temple gown, fleeing further into the depths of the everglades in her new garb blending so well with the surroundings that it helps to conceal her whereabouts. Bruce, the American hunter, who accomplished Kathlyn's rescue in the amphitheater from the forty hungry lions, has been hot upon her trail since the stampede of elephants drew them far apart. Undeterred, however, he has penetrated the depths of the jungle, followed her from the Burning Gat to the ruined temple, and now to the base of the tree, where he finds her torn and discarded garment. He is encouraged to continue his search with greater zeal. In the interim, some passing traders lose an elephant that has strayed far afield to feed and give chase. The elephant becomes panicky and in its flight almost knocks down the tree that shelters Kathlyn. In her fright, she tries to run away, but the traders who have come upon the scene, capture her, believing her to have been an escaped slave. The chief of this band, after taking counsel, concludes to take his captive to a nearby city, place her in a slave market and sell her. Then follow a series of interesting scenic events, showing the method of caring for captives that have more than ordinary value in the eyes of their owners, for the fair Kathlyn at once excites the cupidity and admiration of the leader of the band, who naturally concludes he has a pearl of great price in her. (Incidental to this is the caste-mark on the forehead of the human chattel.) A few days after Kathlyn emerges from the jungle, she is put upon the auction block in the slave market of Allaha. Disguised in her wild garb of woven grass, bearing her caste-mark, and deprived of all the finery that once marked her as a queen, she is so heavily veiled she is not recognized by any of the dusky magnates who frequent the market of Allaha. Eventually she is sold, curiously enough to Umballah, who does not recognize her on account of the Saree over her face. Kathlyn, who has been successful in outwitting Umballah, concludes to reveal to him her identity, and when she does he is furious and indignant beyond words. While she was in the slave market, she managed to learn the whereabouts of Bruce, and conveyed a message to him through the caste-marker of Allaha. Bruce is again close, but is a few minutes too late to save her, as Umballah, in his fury, has ordered Kathlyn to be incarcerated in the same prison that confines her father. She had believed her sire dead, but when she is placed into the dungeon she recognizes the ragged and emaciated lost one and a joyous meeting drives melancholy from the inhospitable place. This, however, is short-lived, for the malignant Umballah appears and tells Col. Hare that his daughter Kathlyn is now his slave, his chattel, and that he will do with her as he likes. Instead of having the effect he hoped, in humbling the prisoner in chains at his feet, it inspires him with fury, and Hare, now possessed of maniacal strength, springs upon Umballah like a wild beast and bears him down, grinding him against the rocky floor of the dungeon.

Dir: Francis J. Grandon

A girl known as "Boots," who keeps house for a band of crooks led by her kind guardian, Uncle Ben, called "The Lion," demands that she be allowed to accompany them on a burglary. Dressed in boy's clothes, Boots is caught by Mrs. Kathryn Sylvester, a rich society widow, who, upon learning that Boots is a girl, resolves to avenge herself on James Graham, who refused to marry her stating that he wanted no stain on his lineage. She raises Boots in luxury, and at the proper time, introduces her to Graham's son Donald. After Boots endures an awkward two years of study during which she still frolics with her pet pig, she and Donald fall in love. During their wedding, Mrs. Sylvester announces Boot's past to Graham, but Uncle Ben, now reformed, reveals that Boots is really the daughter of Major Richard Harvey, who is present. The happy couple then resume their wedding.