The Essential Watchlist that Capture the Essence of Outwitted: Cult...

Dir: George D. Baker

The disgrace and suicide of her father drives Eleanore Marston from her comfortable existence into a life as a department store clerk in New York. There she meets wealthy Powers Fiske, who offers her a life of luxury if she will consent to an operation on her brain which would deprive her of her memory. Eleanore agrees, and after the operation, Fiske is horrified to learn he has robbed her of her individuality and that she has become cruel, selfish and remorseless. Dr. Trow, a friend of Fiske, hypnotizes Eleanore to learn of her previous incarnations. Eleanore first remembers herself as a heartless Viking woman, then progresses to a Borgian princess, ending as a woman persecuted as a witch in Salem. Continuing to exercise his power over her, Trow draws Eleanore to the edge of a cliff. They are followed by Henry Johnson, one of Eleanore's compatriots from the department store, who traced the girl to Fiske's house. At Eleanore's plea for help, Johnson leaps upon Trow and the two plunge to their death over the cliff. Fiske arrives just in time to lead Eleanore back to the house. He appeals to a great scientist who restores her memory by means of a second operation, and Eleanore then becomes Fiske's bride.

Dir: George D. Baker

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

A grandmother has an adventure for the first time in her life when she decides to have a night out.

Dir: George D. Baker

Jim Lassells travels to Africa to obtain proof that his cousin Harold Brooks is dead as rumored, and learns that an Algerian sultan killed the rich American. Since it is assumed that Brooks was childless, Jim inherits his cousin's fortune. At a slave market he buys a young girl named Perdita and sends her to a convent in Corsica to be educated. Years later, Jim meets Perdita again while traveling through Corsica with the impecunious Duchess of Westgate and her daughter, Lady Lilah Grey. When the party stops at an inn, Jim discovers that Perdita is not only a Persian princess, but also the long-lost daughter of Brooks, and therefore the rightful heir to Brooks' fortune. Perdita, who has fallen in love with Jim, engages the romantic Count Theodore de Seramo to abduct the duchess and her daughter, and later the count and Lady Lilah become engaged. Jim offers to turn over his wealth to Perdita, but she declares her love for him and they wed.

Dir: George D. Baker

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

Gordon Allen works hard to support his wife Dorothy, but she becomes bored with Gordon and her marriage. She takes a trip with her friend Evelyn to a farm for a vacation, and there meets and flirts with handsome but native farmer Jed. She thinks nothing of it, but Jed takes it very seriously, and his sister Mary tries to break up the relationship. When Gordon pays a surprise visit to the farm to see Dorothy and she greets him warmly and kisses him, Jed realizes that he's been played, and after Gordon beats him in a fight, Jed kills himself. Mary, outraged, vows vengeance on Dorothy.

Dir: George D. Baker

When Silas Pettingill strikes oil and becomes immensely wealthy, his wife Maria and their daughter Helen demand to move from their Middle-Western home to a mansion on Fifth Avenue in New York City. Even then they are dissatisfied, for they have so fashionable friends. Helen is constantly reading books about royalty, and she bewails her fate because she knows no lords or earls. Wearying of their complaints, Silas goes out and makes friends with a taxicab driver, as agreeable young man named Hubert Stanwood, and as the hour grows late, takes him home with him to bed. In the morning Mrs. Pettingill demands to know who the stranger is. Not daring to tell her he has brought home only a chauffeur, he introduces Stanwood as Count Erfitt. Mrs. Pettingill runs to tell Helen the glad news, and they plan a series of social functions to introduce their guest. Soon the "Count" is seen everywhere with Helen. He does not want to pose under false colors, but Pettingill implores him not to let them know that he has deceived them. At a tea-dance they met Macklin Thurston, who is introduced to them as the Earl of Bradwood. Stanwood starts when he hears the name, for his own grandfather is the heir. He does not know that both have died, and that Thurston, discovering that the second son, Hubert, has been missing for several years, has appeared as a false claimant for the title. Stanwood decides to say nothing, but to investigate. Thurston is really the proprietor of an international employment agency. He uses this position to supply Huntington Lodge, the Adirondack home of the Pettingills, with two servants, Rita and Dugan, who are clever crooks. Both Thurston, as the Earl, and Stanwood, as the Count, are invited to a house party at the Lodge. Helen and Stanwood have fallen in love with each other at their first meeting. Stanwood proposes, and Helen accepts him. But Thurston tells Rita she must find a way to compromise Stanwood. She does so, and Helen breaks her engagement to Stanwood, and announced her engagement to Thurston, known as "the Earl." Stanwood engages a detective to unmask Thurston, but he has manufactured credentials, and Stanwood himself is unmasked as a false count by a man who knew him as a chauffeur. Helen orders him to drive her guests back to their hotel from the lawn fete that is in progress. Thurston goes to Helen's room and tries to persuade her to elope with him, but she refuses. Under cover of night, Rita and Dugan attempt to steal Helen's jewels. Stanwood returns in time to prevent them, but he is injured in the struggle, and when Helen enters she thinks it is he who is the thief. Still loving him, however, she urges him to escape, but the real thieves are apprehended. Detective Burke is about to take both Thurston and Stanwood into custody, not knowing which one of them is the tales Earl of Bradwood, when the lawyer arrives from New York and identifies Stanwood as the genuine Earl. Thurston is led away, and Stanwood and Helen, soon to be Lady Bradwood, are reunited.

Dir: George D. Baker

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

Acting on his belief that most people become sentimental at Christmas time and are therefore easy prey, New York confidence man "Silk" Wilkins ingratiates himself with millionaire Lawrence Gray, whose wife and little daughter Zelda were lost in a flood eighteen years earlier. After promising to find Gray's daughter, Silk returns to his boardinghouse, where he finds Alice Sheldon attempting to escape her desperate financial straits through suicide. Silk convinces Alice to pose as Zelda Gray and then notifies Lawrence via a note placed in an almond shell that he has found the lost daughter. Lawrence treats Alice so kindly that when Silk demands payment from her on Christmas morning, she refuses. Lawrence, who has overheard the conversation, enters and laughingly reveals that he had known of the frame-up all along. Grateful to Silk for finding him a wife, Lawrence writes the confidence man a large check.

Dir: George D. Baker

A gypsy girl whose mother committed suicide after being seduced and abandoned by a rich man finds herself twenty years later being wooed by the same man.

Dir: George D. Baker

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

Col. Jessup of Mayville does not waste any affection on his young wife, who finally runs away with a theatrical company, taking her son with her, but leaving her baby daughter. Later, she dies, and the boy, Byron Bennett, known as Buddy, is leading man for a theatrical company playing one-night stands, but this season has been disastrous and the company is about to disband when they receive word that the house is sold out for the performance at Mayville, so they hang on. However, the manager collects the receipts for the performance and takes the first train, leaving the company stranded. Buddy secures a position as Instructor for the Jessup Volunteer Hose Company which is to give an amateur theatrical performance. He persuades Grace Jessup's father to allow her to take the leading part in order to out-do Hose Company No. 1, which also plans a performance. Grace becomes interested in traveling salesman Percy Pennington. He tries to persuade her to elope, but she refuses until he makes a definite promise of marriage. He boasts to Buddy and his friend Skinny and intimates that the promise will not be carried out. Soon after, he starts out riding with Grace. Buddy is suspicious and follows on a bicycle, but is outdistanced. At last, however, he sees the horse tied by the roadside, and hears Grace scream. Rushing to her assistance he overcomes Percy, and carries a wilting Grace home.Col. Jessup, thinking Bud is the culprit, fires at him twice. One bullet lodges in the shoulder; the other is stopped by Buddy's watch in which he carries a picture of his mother. Grace regains consciousness and explains matters, and Jessup is amazed to find that the picture in the watch is that of his wife. The doctor advises that Buddy will recover, and there is a reconciliation among father, son, and daughter.

Dir: George D. Baker

Joline, a "Daughter of Joy," becomes enamored of Paul Granville, a poor artist, and as his model enables him to win fame in a series of startling canvases. A wealthy patron of art commissions Paul to paint "The Madonna of the Rose Bush," and he feels that a new model is needed, but the jealous Joline drives them away, and they start for the monastery, where the miracle of the rose bush is supposed to have occurred. There a monk declares that in Joline he has seen the Virgin, and some chord in her better nature is touched. She leaves Paul, but is reunited when she, a Red Cross nurse, finds him wounded upon the battlefield.

Dir: George D. Baker

An imperious Egyptian princess awakens from a 3000-year trance and wreaks comic havoc in the modern world, but it all turns out to be the dream of a young man, inspired by a mummy left in his care overnight.