Rare Cinematic Gems Exploring the Legacy of Penny of Top Hill Trail...

Dir: Arthur Berthelet

Art and Jasper, a poor American boy and his faithful dog, have only each other in the face of a cruel world, which constantly imperils their liberty. Art's efforts to raise $2 for Jasper's tax brings him into conflict with the law, but he eventually proves his good intentions and finds a loving home with the Dorays.

Dir: Arthur Berthelet

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

Rosiland, whose papa is rich, first meets David Noel when she is about 10 years old. He is a shivering little beggar boy who is seeking the scant warmth emitted from a sidewalk grating at her home. Rosiland, with childish generosity and sympathy, takes off her shoes and gives them to the beggar boy. Those little shoes were David Noel's guiding light. They spurred ambition in him, the ambition to become rich and then make the pretty little donor his wife. Years pass; the two children see each other no more, and David wins the first step towards his ambition's goal. He becomes rich in Costa Rica. Then he returns to the great city wherein dwelt the girl of the little shoes to achieve the final step. Time has wrought a great change in Rosiland's life: her papa has lost his wealth and she, now grown, faces destitution. Thus David, finding her at last, is enabled to repay twofold the gift of the little shoes. She wins him and his fortune.

Dir: Arthur Berthelet

Believing that over-civilization was destroying the race, Eli Tapper, an eccentric millionaire, took two unrelated orphan children, a boy and a girl, and placed them in a wilderness, there in the care of an old tutor, David Winters, to grow up as a new Adam and Eve, and become path-breakers of a better race. In delightful simplicity and educated as much as they could be without contact with the world, the children attain the age of nineteen years. Mrs. Tupper-Bellamy, society leader, lives in costly splendor against the day when she hopes to inherit her brother millions. She plans to marry her daughter, Clarice, to Seymour Purchwell, society idler of standing and also an attorney. Purchwell makes it plain that the marriage can occur if Eli Tupper's fortune goes to the girl and her mother. When Tupper dies the sister and her set learn for the first time of his odd experiment. His will provides that the sister must take Adam and Eve into civilization in order to win an annuity of $50,000 a year. The orphans are heirs to the rest. Purchwell sets out to find them. He locates the Eden of the boy and girl and old Winters, and is literally the serpent in the garden. Winters resents leaving, but a clash between Adam and Purchwell decides him. Plunged amidst the whirl of social affairs Eve is delighted. Adam is disgusted with the sham and deceit of society, and pleads with her to return to Eden. She refuses. Winters takes him to Paris to study. Purchwell, seeking the Tupper fortune, turns his attention to Eve. Clarice is in a frenzy of affection spurned, and after finding the two alone she accuses them before the whole house party. Eve, in her innocence, does not readily grasp the meaning of the charge. When it dawns on her she faces the guests, and in her bitterness denounces them as tools of passion and greed, and announces that she will give up all and return to Eden. With old Winters, she returns. Adam is recalled from Paris, and the girl and the boy, now awake to their love, together with their beloved guardian, give up the world.

Dir: Arthur Berthelet

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

Helen Steele, who has theatrical aspirations, has been told by Sidney Parker that, owing to her lack of stage experience he cannot entertain her proposition of giving her the leading part in his new production, "The Siren." Believing that she can get Parker to consent if she is persuasive enough, Helen has her fiancé, Henry Tracey, invite the theatrical manager to the party to be given by John W. Cannell so that she may work upon him. At the affair Helen manages to obtain Parker's consent to give her a trial it she is successful in having Jack Craigen, a friend of Cannell, who has been living in Patagonia for a long time and who is a woman hater, propose to her. Helen works her wiles upon the adamant Craigen and finally elicits a proposal from him. The guests in the next room, who have been listening, come out at the critical moment, and congratulate her. Craigen demands an explanation, and he is told that it is all a joke. He refuses to accept the incident in such a light, however, and makes preparations to leave for his home in the mountains. At this juncture. Tracey, who had been called out of town on important business before the commencement of the party, returns. When told of Helen's episode with Craigen he becomes very angry and upbraids her. Tracey then goes in search of Craigen, whom he does not know, and mistaking Keen Fitzpatrick, a reporter, who has been waiting in the next room for an interview with Craigen on Patagonia, for the man he is in search of, he starts to pour a scathing indictment upon him. The guests hear the tirade and inform Tracey of the identity of the man to whom he is speaking. Meanwhile Craigen, having packed his belongings, is leaving in his auto. As he is passing the back entrance, Helen jumps in front of his auto and tells him that, inasmuch as he does not know anything about women he should adopt the Patagonian savage method and carry her off to his home where he could study her. He puts her suggestion into effect and Helen is carried off in the auto to his home in the woods, where he brutally orders her about. She attempts to escape, and Craigen chains her to the floor. While he leaves her for a moment to put his car into the garage, "Boney," an escaped lunatic, makes his way into the cabin. He styles himself Napoleon Bonaparte, and raves about his armies. As he is swinging his sword about the room, Craigen appears, and by diplomacy succeeds in getting "Boney" upstairs to review his armies where he is locked in a room. Craigen returns to Helen. His back is turned to her and she knocks him unconscious with the telephone. Taking the keys from his pocket, she releases herself and escapes into the woods. Craigen recovers his senses and, finding the note Helen left informing him that she feels sorry for her action and has gone for help, fears for her safety, and goes out in search of her. During his absence Fitzpatrick, who was trailing, arrives. On searching through the house for Craigen, he comes upon "Boney," whom he takes to be the man he is searching for. He demands to know where the girl is, but "Boney" only raves about his armies. The two are just on the point of clashing when Craigen returns. He reveals his identity to the reporter, and tells him that Helen has fled into the woods. The asylum keepers trace "Boney" to Craigen's home, and take him away. Tracey, who has also been following, arrives at the cabin and confronts Craigen with a revolver. He demands Helen or his life. Craigen manages to convince Tracey, after an argument, that Helen has fled into the woods. Helen has seen Tracey's car going in the direction of Craigen's home, and fearing trouble, makes her way back. She arrives just after Tracey has left. The other members of the house party arrive to take Helen back, but she refuses to leave Craigen.

Dir: Maurice Campbell

Carver Endicott, a young sophisticate, is rejected by his fiancée for being too foppish and dull. When she feigns an interest in his father, Carver attempts to disgrace his family name by working as a farmhand and later as a busboy in a hotel. However, the newspapers only praise him for his self-sacrificing principles; and finding that he cannot bring shame to the family through menial labor, he takes up with a notorious actress. But when this maneuver also fails, he returns to his former fiancée, who has no further complaint about his being an inexperienced dullard.

Dir: Arthur Berthelet

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

Forced by the death of her mother to care for her three brothers and sisters, little Mona Fairfax is known to farmers of her district as Young Mother Hubbard. The children's step-father, heavily in debt and tired of the burden imposed by the little family, abandons his farm, leaving the children, penniless, to shift for themselves. The following day Daniel Banning, a wealthy "country gentleman" and owner of the Fairfax farm, calls to collect back rent. He finds Mona and her children panic-stricken over a note left by their step-father, telling of his decision to leave. Banning turns a deaf ear to Mona's pleas that she be allowed to remain on the farm with her wards. He notifies the Children's Welfare Society. Directors of the society go to the farm, load them into an automobile, and take them to the society's headquarters. At headquarters the chairman calls for volunteers to take the children into their homes. A square-jawed woman, a miserly old man, a brutal fellow, with bull-dog features, and a ponderous, harsh, mannish looking women, each agree to take a child. When it dawns upon Mona and her brothers and sisters that they are to be separated they break into tears and beg piteously to be allowed to remain together. Their pleas are ignored. Finally Mona begs that they be allowed to spend a last night together on the Fairfax farm. The request finally is granted. That night Mona hitches the family horse to a rickety old wagon and the children set out to escape. They fall asleep and the horse stops near Banning's house. The housekeeper takes them in during the master's absence. When Banning returns he is furious. Mona offers him a wisp of flowers, which he scorns. Finally, however, the child's smile wins his heart and he cuddles her. Later when agents of the welfare society try to take the children, Banning drives them from his place, declaring he will adopt Young Mother Hubbard and her entire family.

Dir: Unknown Director

A fascinating piece of cinema that shares thematic elements.

Dir: Unknown Director

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

The Judge needs a present for his wife's birthday, so Harry suggests a new corset. They go to the shop, but he's so embarrassed to ask the saleslady he hides in a phone booth.Harry goes in, but finds a GUY wearing one, and runs out.They both dress as women to get back in, but Mrs. Rummy gets there and chases him out.

Dir: Arthur Berthelet

When a couple of swindlers hold young Alice Faulkner against her will in order to discover the whereabouts of letters which could spell scandal for the royal family, Sherlock Holmes is on the case.

Dir: Lloyd Ingraham

While walking along the street one day, Arthur P. Hampton, an impoverished young doctor, and his chums, Stub Masters and Johnny Stokes, are persuaded to part with their last remaining funds by tag day solicitor Mary Jane Smith, with whom the doctor promptly falls in love. Doc's friends then hit upon a get-rich-quick scheme. Knowing that his Uncle George has promised a large sum of money upon his nephew's marriage, they persuade Doc to send out fake wedding invitations naming Mary Jane as the blushing bride. Uncle George, elated at the good news, writes to Mary Jane's aunt, Angelica Burns, an old sweetheart, to invite Mary Jane and Angelica to be his guests on an ocean voyage. Meanwhile, Mary Jane pays a visit to the doctor's office and, upon seeing the wedding invitations, becomes so flustered that she trips and sprains her ankle. Doc comes to her rescue and then begs her to pose as his wife. She agrees, but at ship-side, Stub and Johnnie confess all to Uncle George, who flies into a rage until Doc announces that he and Mary Jane have chosen a wedding at sea.