The Auteur's Selection In the Shadow of Pawn of Fate: Cult Guide

Dir: Maurice Tourneur

Richard Duvall is a young American detective in the employ of the French Secret Police. While in Paris he meets Grace Ellicot, also an American, with whom he falls in love. He marries her and is about to start on his honeymoon when he is called on by Mons. Lefevre, chief of the secret police. The French Ambassador to England, Monsieur De Grissac, has lost an ivory snuff box which must be found. They depart for London to interview the Ambassador. In London they go to the Embassy. There the Ambassador tells them that he was robbed of the snuff box while he was dressing and suspecting his valet, Noel, he locked him in his room. When Duvall goes to interview the valet, he finds that he has been murdered. Meanwhile, in Paris, Lefevre has broken the news to Duvall's wife of his departure to London. She, wishing to follow Duvall, asks Lefevre where she can find him. Lefevre tells her that if she will help in the recovery of the snuff box she will find Duvall. She consents, and Lefevre tells her to go to Brussels and try to place herself in the sanitarium run by Dr. Hartmann. who is supposed to be a German spy and whom Lefevre believes to be instrumental in the theft of the snuff box, which box, Lefevre hints, is of diplomatic importance. Richard Duvall, aboard the boat for Antwerp, finds the man whom he is following, asleep in a saloon, and during the night he opens the stranger's suitcase. He finds the package given the stranger in the barber shop, and on opening it, discovers the contents to be rice powder. By this time Duvall has learned that Grace is in the sanitarium, and that she furnished the news to Lefevre's agents. He feels that Grace should leave the sanitarium as soon as possible. He goes to Mr. Phelps, the American Ambassador, and has him invite Grace to dinner, planning to escape after dinner. During dinner that night, Dr. Hartmann, who is beginning to suspect Grace and Duvall, turns up at Mr. Phelps' house as an unexpected guest. When Richard and Grace leave on the pretext of Duvall's escorting Grace back to the sanitarium, Hartmann asks if he might ride with them. Because of no plausible reason, Duvall is forced to consent. On arriving at the sanitarium, Duvall is taken prisoner by two of Dr. Hartmann's attendants. His failure to discover the snuff box angers Dr. Hartmann. He knows that Duvall must have it with him, as his luggage has been searched and his friends imprisoned on various trumped-up charges. He gives Duvall until the next evening to confess the whereabouts of the box. The time allotted him is up, and Duvall refuses to confess. Hartmann resorts to torture. Finally Richard, at night, finds his opera hat behind a packing case and secures the box from the hat. Experimenting with several ornaments on the top of the box, he discovers that it has a double top. Inside the box is a piece of tissue paper, on which a series of numbers are written. Duvall substitutes another set of numbers, and conceals the set found in the box. In order to make Grace confess where the box is, as Dr. Hartmann believes she knows, he lets her see Duvall being tortured. She is almost crazed by watching his pain, so gets the box and delivers it to Hartmann. They are at once released, and proceed to Paris. They are not able to deliver the box to Lefevre, but they give him the series of numbers. Duvall and Grace at last start on their delayed honeymoon.

Dir: Maurice Tourneur

Among the simple fisher-folk of a little island off the west coast of Scotland lives MacTavish, head of a clan. Here he rules as a chieftain, and his word is law. One day a hurricane sweeps across the Hebrides and the fishermen turn their boats to the inlet for shelter. On the shore the women and children watch the fight of their men with the waves. Among those who wait is Margaret MacTavish, who sees her father's boat dashed to pieces in the roaring surf. A party of men headed by Jamie Campbell tries to rescue the old chieftain but the waves close over him before they can reach the battling craft. With MacTavish lost, according to the law of the island the succession of authority passes to his daughter Marget, just 18. She, with a spirit of kindness and in a tender, sweet and girlish way, rules the fishermen and their families. Her disposition wins them. Jamie Campbell, a young fisherman, has won Marget's heart. Jamie has always been regarded as the son of Mrs. Campbell, one of the clan. The old lady, realizing that Jamie is reaching his 21st birthday, feels that she cannot keep her secret longer. So she writes to the Countess of Dunstable that the baby of her first marriage, which she left with the old woman of the island, did not die but grew to be a fine young man, and is now known as Jamie Campbell. The Countess, accompanied by her husband, starts out to seek her son. It is on the eve of Jamie's betrothal to Marget that, the Countess finds the young man and tells him of his real identity. She swears him to secrecy even from his own sweetheart. The Countess goes to watch the quaint betrothal ceremony of her son and Marget. Meeting him they are seen by those who do not know the relation to embrace and this fact is told to Marget. The disappearance of the Countess has aroused the suspicions of the Earl, and he, having learned of her secret meeting with, Jamie and not knowing the relation, confronts her. The wife breaks down and confesses that the young man is her son. There having been no children by the second marriage the Earl is delighted with the news and at once starts to plan for Jamie's future. The Earl, however, means that Jamie shall cut loose from all of his former associates. He persuades Marget to believe that she is an obstacle to Jamie's future and she reluctantly decides to make the sacrifice and give up her sweetheart. As chief of the clan, Marget commands him to leave. Jamie with heart torn asunder departs for his mother's yacht. Marget decides to sail out to somewhere in the west where her father and his father were wont to sail with the fishing boats. Before she cuts the ropes that hold the frail old hulk in which she lives to the island shore she sets ashore her pets and writes a note, places it on the strap collar of her favored little goat, and sends it abroad. Grouchy, gloomy Pitcairn, the village atheist who feared no one and hated himself, has always refused to obey the rulings of Marget. Pitcairn is in a troubled sleep the night Marget cuts loose in her unseaworthy craft, and in a wakeful moment he hears the bleating of the goat at his door. He is about to drive the animal away when he finds the note Marget has written. Looking seaward he sees the old craft tossing in the sea and he realizes what has happened. The village is aroused and the church bell set to ringing. Down to the surf line rush the people. Pitcairn sends a messenger to the yacht to get Jamie. Lowering a boat he rushes to the hulk and just as the waters are closing in on the cabin he rescues his sweetheart and the atheist falls to his knees and utters a prayer for the first time in his life. Jamie takes Marget back to the yacht, a reconciliation between the girl and the Earl follows and the dreams of the courtship begin all over again but they are real dreams because they have come true.

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

Dir: Maurice Tourneur

When he is ruined by speculating in the stock market by bogus tips given to him by Charles Wainwright, George Garrison commits suicide, but before his death he begs his son Henry to avenge him. Henry goes West and makes a fortune prospecting, then returns to New York and assumes the name of Henry Thompson. He becomes Wainwright's protege and falls in love with his daughter Dallas, then is elected mayor of New York, backed by Wainwright's friend, political boss Richard Horrigan. In return for Wainwright's support, he is supposed to sign a franchise binding the city to the financier's railway. Henry refuses, so Wainwright and his flunkies attempt to discredit him by dredging up an old murder charge, but the charge is proved false when the supposed victim, Henry's partner Joe Standing shows up. Finally, Henry confronts Wainwright, accuses him of causing his father's death and of attempting to defraud the city. Despite his denunciation of her father, Dallas proclaims her love for Henry. In an epilogue, the hands of the victims of political boss Horrigan clutch at him from the grave.

Dir: Maurice Tourneur

Mafflu, the old clown, out walking is greatly surprised to see a baby girl, fast asleep, holding in her hand a chunk of bread, at which a large number of sparrows are pecking. Mafflu decides to take the child away with him and care for it. He does this, but upon arriving at the circus where he is employed, the owner and the rest of the company have but a cold greeting for the little newcomer. However, Mafflu clings to the child. The Sparrow, as she is called, grows up and becomes the drudge of the circus. One evening, though worn out by fatigue and hunger, she must still prepare for the evening show. Scarcely has she mounted her horse and made a few rounds of the arena, when she falls and lies unconscious in the center of the arena. Romarin is in a rage and strikes the girl. Mafflu is disgusted and sends an official to the mayor. M. de Ganges, who that night happened to be a spectator. M. de Ganges takes the Sparrow with him to his home and she bids farewell to the only two beings she has ever loved, her adopted father and a poodle. Next morning, on awaking, she can hardly believe that all the beautiful things about her are a reality. The dream is indeed but a fleeting one. The Sparrow is received with jeers and mockery when she puts in an appearance in the servants' dining-room for her meals. A few days later a horse runs away in the park and the Sparrow cleverly manages to master it. This makes the groom, Charley, madly jealous. Charley abuses the Sparrow and a free fight ensues. M. de Ganges intervenes, and, disgusted with the groom's impudence, discharges him. The Sparrow is now received into the intimacy of the Mayor's family. She has fine clothes and jewels. A friend of the family, the banker Schlemmer, spends a few days at the mansion and is strangely attracted to the Sparrow. The attraction is not reciprocated, for, by degrees, the Sparrow falls in love with M. de Ganges. Alas, one day, she surprises him in a close embrace with his cousin. She is jealous. Schlemmer still persecutes the Sparrow to the extent of doing her violence. She decides to leave the house. In a few lines she thanks her benefactors for their goodness and announces her departure without, however, revealing its real cause. The Sparrow signs a very profitable contract with a new circus and she forgets, to a certain extent, her former disappointments. However, her troubles are not over yet. Charley, engaged as groom at the circus, finds occasion to exercise his hatred. After a first performance, the Sparrow goes to her dressing-room to change her costume for a second appearance. When, on hearing a noise, she turns around, and is horrified to see Schlemmer, introduced there by the groom, and who endeavors to abuse the girl, who defends herself energetically. Fortunately for her, Mafflu and the stage manager, wondering why she does not appear, enter her room and put an end to the trouble. Although not quite recovered from the shock, the Sparrow, nevertheless, takes her place on the central platform, where she is to perform her aerial act. M. de Ganges and his young wife are also spectators. In seeing the one she loves and who is forever lost to her, the Sparrow is painfully affected and, without ceasing to look at him, she makes a sudden leap, misses the rope along which she was to glide to earth, and crashes to the ground. Mafflu, in tears, picks up the girl, whose back is broken, and carries her away. M. de Ganges, deeply moved, comes to her and the Sparrow has, at least, the consolation of beholding before her death the dear face of the loved one.

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

Dir: Maurice Tourneur

James Kestner is a government secret agent on the trail of a band of counterfeiters and particularly anxious to locate the head of the gang, Frank Lambert, who, in addition to his skill as a counterfeiter, is known to the underworld as the only man who can fill in the perforations of a used bank check. Kestner locates the band in their underground work shop near the river front. He cleverly maneuvers his way into the headquarters of the band when it is empty, but is caught in the act of searching for incriminating evidence by "Bull's Eye" Cherry, a clever girl crook, and one of the mainstays of Lambert's crowd. Lambert and his daughter, who has been educated in crime by her father, return to find Kestner held at the point of Cherry's revolver. Lambert is for killing the detective outright. Impressed by Kestner's brave demeanor, Maura intercedes in his behalf, but finding her father determined in his intention to kill the government agent, she pretends that the police are outside. The counterfeiters make their escape without settling accounts with Kestner. Kestner locates the criminals in their new quarters. One of his assistants trails "Bull's Eye," who has the new counterfeit plates in her possession, but she cleverly evades capture and returns the plates to Lambert's headquarters. Kestner forces his way into the gang's rooms, arriving just in time to witness a desperate battle between Lambert and Tony Morello, one of his accomplices, whose passion for Maura has led him to attempt to force his advances upon her. Lambert kills Morello with a knife, but before dying the man acquaints Maura with the fact that Lambert is not her real father, but that he stole her when a baby and reared her to this life of crime. Kestner places Lambert under arrest, but the crook evades capture a second time by a ruse. Kestner's assistant arrives with the police, but Kestner permits Maura to go free on account of her having saved his life on the occasion of their first meeting. Kestner is determined to capture Lambert single-handed. He trails him to a midnight rendezvous on a wharf, where he and Lambert fight it out to a finish. The revolver battle between the two men in the dark culminates in a hand-to-hand encounter in which Kestner ultimately proves victor, but has barely strength enough to handcuff himself to his unconscious opponent before collapsing. In the end Kestner induces Maura to return to the straight road, and she takes up her home with his mother. The story closes with the intimation that the romance so strangely begun will lead, as time passes, to a life of happiness for them, together.

Dir: Maurice Tourneur

Editor of the Louisville Gazette sends happy-go-lucky cub reporter Steve Oldham to cover a feud in the hills that began when Jim Renlow's pig was caught eating Bill White's turnips. Although Steve tries to remain impartial, he falls in love with schoolteacher Alice Renlow. At a "Truce Dance" given to raise money for Alice's salary, Steve drinks too much and innocently kisses Peggy White, who then tells her relatives that they are engaged. Later, when Steve is seen kissing Alice's hand, the Whites take Steve captive and plan to shoot him at sunrise. Alice pleads with Tilden White, who loves her, to allow Steve to escape, but he agrees only if Steve will leave alone. When Steve refuses, Alice confesses her love. They fight until the house which they are occupying is destroyed and the cavalry, notified by Steve's newspaper, arrives. The two sides are now reconciled as Steve and Alice prepare to marry.

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

Dir: Maurice Tourneur

Arriving with her husband in Arabia, Katherine Wyvrne is ready for romantic times in the exotic Middle East, but her aristocratic husband prefers to be out hunting "Barbara sheep" than fulfilling his wife's desires. She soon meets up with the dashing Arab chief Benchaalai and falls for his charms, but he has a much more sinister goal in mind for her than romance.

Dir: Maurice Tourneur

Dr. Hugh Annersley, assisted by Dr. Appledan, has succeeded in finding a cure for cancer. Julia, Dr. Annersley's sister, comes home with Griswold, a former client of the doctor, and to whom he still owes money. Griswold did not enter the house, Annersley saying to Appledan that if Griswold would pay him what he owes, he could then continue his work with the medical discovery. Griswold, now being attended by Appledan, Annersley decides to write him a letter, in which he states that unless he is paid within twenty-four hours, that he will go to Griswold's apartment to collect the account himself. Appledan takes the letter to Griswold himself. In giving medicine to Griswold, Appledan gives him an overdose, resulting in his sudden death. To ward off suspicion, Appledan places Annersley's letter threatening violence to Griswold on the latter's table, and firing two shots out of a revolver, the aged doctor leaves the room. When the police investigate they find the revolver on the floor, and on it is carved Hugh Annersley's name. Circumstantial evidence in the form of the revolver and letter points to Annersley. He is placed under arrest and charged with the murder. Julia, calling upon Appledan, notices the old doctor laughing hysterically as Frank Sargeant, a well-to-do young man, leaves his office. He tells Julia that he has just warned Sargeant he could not live more than a couple of months on account of the poor condition of his heart. With this knowledge, Julia starts in search of Sargeant, and finds him in an old quarry just as he was to commit suicide. She persuades him to listen to her. She unravels to him the story of her brother's plight, and of the fact that he could save millions of lives were he able to continue with his cancer cure. That as he, Sargeant, could not live long and was on the verge of committing suicide, would assume the murder of Griswold, clear Annersley of the charge, and thereby be of some good to humanity. Sargeant agrees and fabricates circumstantial evidence against himself so strongly that he is arrested and convicted of the crime. While awaiting electrocution, Sargeant learns that his heart was never affected, that old Doctor Appledan was mentally unbalanced, and then confined to an insane asylum. Upon learning this, Julia sets out to clear Sargeant and reverse the wheels of destiny against him. The old doctor confesses that he gave Griswold an overdose of medicine and to clear himself had placed Annersley's letter and pistol near him, thereby clearing Sargeant. How Julia repaid Sargeant for his great sacrifice by her love and affection brings the picture to a dramatic and happy ending.

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

Dir: Maurice Tourneur

For 10 years the men of the D. and O., a short line, have been at the mercy of "B," supposedly Barker, president of the railroad. The line itself is run from the executive offices in New York, far distant, and none of the men have ever laid eyes of "B," yet the smallest transgression, accidental or otherwise, of the railroad's rigid and economical discipline results in a telegraphed order from "B," decreeing the fine, suspension or other punishment for the offender. Latterly, it has amounted to almost persecution and the men are on the verge of a strike. The climax comes when 48, the passenger train driven by Jim Lewis, goes off the rails on a soft spot and ties up the whole system for a day. When 48 finally limps into Wellsdale, the eastern terminus, "B's" decision is waiting for Lewis, two weeks' pay as a fine and six months' probation on a yard engine. The punishment starts a riot. The men agree to send Lewis to see Barker. Lewis calls on Barker. Barker receives Lewis, and instead of the hulky, brutal man he expected to find, Barker is an elderly, kind old gentleman, with a charming family. Mildred, his daughter, impresses Lewis. At last, Lewis, much bewildered, accepts an invitation to dinner with the family. In the morning Lewis learns that "B" is Brown, the manager. With a card from Barker he seeks an interview, but learns the manager has decamped, taking all the negotiable funds of the road. Lewis, thinking of the girl he met the night before, asks for and gets the job of running down "B." After considerable detective work he locates a man he has reason to believe is his quarry. With the aid of a bellboy, he gets a tip on the departure of the suspect and as the fleeing man enters a machine Lewis grabs him. There is a fight, which ends in Lewis's victory. Jim Lewis returns in triumph to New York with the stolen goods licked in a brand-new bag, and reaches Barker's house in the early evening, just as a group of D. and O. magnates are deciding that the road is gone and done for. Jim is the sort of stuff the road needs in its executive offices, and barker states that he is to come in to New York to be trained. Jim parts with Mildred on his way out, but to their mutual satisfaction it is only "au revoir." The future is rosy for Jim Lewis, and the boys of the road have gained more than they hoped when they sent him to see "B."

Dir: Maurice Tourneur

A resourceful young girl struggles to free herself from slum life.