The Cult Collection Inspired by the Vision of Playing with Fire: Cu...

Dir: Francis J. Grandon

Washington, D.C. society belle Elizabeth Crane gives up her fiance, young diplomat Paul Beale, when she learns that her foster sister Flavia also loves him. After Flavia and Paul marry, they join Elizabeth on a yacht belonging to millionaire Silas Randolph, who wants to marry Elizabeth. The yacht catches fire and Elizabeth and Paul swim to a desert isle. Randolph arrives later and fights Paul to get to Elizabeth, but she stabs him to death. As the months pass, Paul and Elizabeth, believing Flavia dead, rediscover their love and live as if they were married; but Flavia, who was saved by a freight steamer, sees a vision of Elizabeth and organizes a search party. When Elizabeth sees Flavia's boat approach, she tells Paul, who says he wants to remain with her. After she convinces Paul that his child has a right to him, Elizabeth walks into the sea and drowns herself so that Flavia will not know of the island romance.

Dir: Francis J. Grandon

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

Justina Howland lives in Mexico near the U.S. border with her uncle Miguel and his son, Luis Alvarez. The uncle plans to have Justina marry Luis in order to get the money which she will inherit. Matters come to a climax when Miguel sends for a priest and announces the marriage will take place at once. Justina escapes on the mule that brought the padre to marry her and crosses the border, where she is given shelter by the soldiers under command of Lieutenant Morton. In the morning she tells her plan to get to her Aunt Betty in Lowell, Mass. The soldiers discover she can dance and get her to dance for them, taking up a collection to take her safely to her aunt. Justina arrives safely and all goes well until Uncle Miguel makes the discovery of Aunt Betty's address on a photograph and comes to Lowell, bringing Luis with him. The two Mexicans arrive at about the same time as Lieutenant Morton's regiment. Betty is delighted to see her rescuer again, and when she learns that he is the local Boy Scout Master, she envies the boy scouts and decides to become one of their number. Miguel hunts up the local sheriff and brings him to Aunt Betty's home to capture the runaway. Miguel asserts that he is the girl's lawful guardian and will force her to marry Luis. One of the scouts has been hurt and brought to Aunt Betty's home, so Justina decides to put on his uniform and gets away through the window, while Aunt Betty holds off the searching party. A long chase follows until Justina finds herself unable to go a step farther and breaks down. The pursuers catch up, and at the same time Lieutenant Morton, warned of Justina's fate, appears. The girl is leaning against a large stone (the state boundary mark) and she unconsciously moves to the other side of it, putting herself across the boundary of New Hampshire. For that reason the uncle is unable to take his ward until he secures a New Hampshire sheriff. While this is being accomplished Morton secures the services of a minister and the little party is turned into a wedding procession, the Boy Scouts forming a lane of honor through which the latest recruit, plucky little Justina, and her new husband, walk.

Dir: Francis J. Grandon

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

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

When Roberta Carruthers' father, Capt. Carruthers, is killed in France during the war, she comes to live in the US with her uncle. When she finds out that her uncle is under the impression that his brother had a son and not a daughter, she decides to disguise herself as a male, and calls herself Bob. She becomes a translator for William Faulkner, the governor of the state, and in that capacity exposes a number of German spies. However, Gov. Faulkner manages to meet "Roberta" as a woman, not knowing that she is actually "Bob", his translator--and falls in love with her. Complications ensue.

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 The Daredevil perfectly mirrors the editorial trajectory of our deep dive.

Young Polish American Sonia, whose deceased parents were famous musicians, exasperates her poverty-stricken guardian, Ivan Jandoroff, with her dreams of becoming a great violinist. When his employer, Andrew Hamilton, threatens to lower the wages at his steel mill, Ivan orders Sonia to work in the mill and then pawns her violin. Infuriated, Sonia soon learns that Andrew has purchased the instrument and visits the millionaire's home to demand its return. Upon hearing her play, Andrew offers to finance Sonia's musical education, but following her successful debut, he suggests that she offer herself to him to cancel the debt. Sonia tearfully smashes the violin and then returns to the factory, where she nurses the sick laborers through an epidemic and prevents a strike that would have ruined Andrew. Realizing his injustices to his workers and the woman he loves, Andrew promises to improve conditions at the mill and later proposes to Sonia.

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.

Dir: Francis J. Grandon

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

Henri Le Rocque's arrival to an island village causes much consternation when he insists upon advanced rental for the land he owns. Accompanying Le Rocque is his nephew Paul, recovering from the effects of an unfortunate love affair. One day, little flower girl Fleurette visits the Le Rocque estate to make a present of a rare flower and is shot as a trespasser. She is nursed back to health at the mansion, and Paul falls in love with her. However, her former sweetheart, Jacques, appears and persuades Fleurette to run away. As Fleurette returns to the village, she learns that the villagers are planning to storm the mansion and, realizing that she loves Paul, rushes back to warn him. This endears her to Henri, who urges Fleurette to marry his nephew and bring happiness into their lives.

Dir: Francis J. Grandon

Two passionate suitors pursue actress Elaine Elton Oscar Billings, the head of several large theaters, and millionaire Jack Dexter, whom she has never met. To force her to spend time with him, Jack pretends to be a chauffeur and gets a job with Elaine, who soon feels quite attracted to him. Then, Oscar combines a marriage proposal with a threat, and tells Elaine that she will never work again if she refuses to become his wife. Elaine gives in and marries Oscar, but then murders him because of his numerous affairs, after which she herself dies while trying to escape from the police. Elaine then wakes up, and after realizing that her marriage and the events that followed it were a bad dream, decides that the nightmare may have foretold the future. As a result, she ignores Oscar's threat to her career, and marries her millionaire chauffeur.

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.