The Recommended Vault Deeply Connected to Off His Trolley: Cult Guide

Dir: J.A. Howe

A fascinating piece of cinema that shares thematic elements.

Dir: J.A. Howe

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

A farce in which newlyweds create most of the fun.

Dir: J.A. Howe

Old man Hardscratch, the village nickel-nurser, a hard-hearted mortgage taxer, gives notice to the heroine and her people that unless they pay, he will put them into the street. The girl appeals to Jim for help, Strongarm, the blacksmith, brings Jim to his shop as his apprentice, Strongarm receives a present from his partner Gideon, with a letter, - the trained monkey, Minnie, Minnie gives Strongarm and Jim a chase about - while she sits on the roof of the shop and watches them, Strongarm leaves the shop in Jim's care - and during his absence Jim "shoes" a horse and receives two dollars from the owner for his work. With this money he buys milk for the hungry baby, the old man Hardscratch having refused to give it to the girl. The mean old man Hardscratch, while taking something from his pocket, accidentally drops a roll of bills, which Minnie finds and brings to Jim. There is much comedy business between Minnie and Jim. In the end, Jim has won the gratitude of the girl and her people by using this money to pay Hardscratch and chase him from the house.

Dir: J.A. Howe

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

A fascinating piece of cinema that shares thematic elements.

Dir: J.A. Howe

A fascinating piece of cinema that shares thematic elements.

Dir: J.A. Howe

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

A fascinating piece of cinema that shares thematic elements.

Dir: J.A. Howe

Monty and Rock, at the beach, meet many girls, but fight over the one girl, and seek the aid of a movie press agent, to settle the dispute, but instead of helping he tells them she belongs to his company. He appoints them both judges of the baby parade, and tells them whom he wants to win; and at the parade, which is the big event of the season, they award it to the one the judge wanted even though the vote is for another. The people chase them, and after much chasing they come upon the agent and the actress, and ask who wins the girl. The agent tells them that the policeman wins the girl. And hands her over to him. The boys disguise themselves to fool the cops, come upon the movie company and try several different times to get admitted, but each time they are barred out. Hearing the director ask for two messengers, the two disguise them selves as such, but again arrive too late. In their effort to get in they are again defeated, but receive a telegram to be delivered which they read, finding that two French comedians are detained. They dress up as the French actors, and arrive at the studio, where they are greeted with much ceremony, They are talking when the two real French actors arrive. After the confusion and chasing, in which the two manage by many tricks and jumps to elude the pursuers, they find the manager willing to make a contract with them to act in comedies. They accept. Finis.

Dir: Reggie Morris

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

A fascinating piece of cinema that shares thematic elements.

Dir: J.A. Howe

A fascinating piece of cinema that shares thematic elements.

Dir: J.A. Howe

A fascinating piece of cinema that shares thematic elements.