Rare Cinematic Gems Exploring the Legacy of Red, White and Blue Blo...

Dir: Charles Brabin

They were twins, and the passing years had in the sifting melting-pot of life. William looms brilliantly, a success, while John is deep in the discouraging shadows, a failure. Another span of fleeting years, and William attains the summit of a meteoric career; he is a candidate for the United States Senate. John (under an assumed name so that his brother is spared the relationship of the black sheep) holds a modest newspaper position in the same city where William's campaign is centered. William falls sick and John, taking advantage of their resemblance, addresses an important meeting and sweeps the audience into frenzied enthusiasm. Sensing in John that which she has always missed in William, the latter's sweetheart confesses her love, thinking, of course, that she is speaking to William. Soon John finds himself facing the fact that he loves his brother's sweetheart. Fate's law is Heaven's justice; William is found dead by John, and what would have been his brother's now becomes John's, as a reward to his genius.

Dir: Charles Brabin

A feud has existed between the McLanes and the Conovers in the Tennessee mountains for many years. "Two Gun Carter" leaves Texas after a shooting fray and arrives just in time to witness George Conover's death at the hands of Henry McLane. Carrying young Conover's body to his family, Carter is very moved by their grief that he agrees to become their adopted son and subsequently falls in love with Marian Conover. In an attempt to put an end to the feud, Carter suggests a duel between himself and Henry McLane, but Henry refuses, and so, to uphold his family honor, Tom McLane, the clan leader, accepts the challenge. In the midst of the match, news arrives that Henry has abducted Marian. Carter rushes off and rescues Marian just as Henry and his horse plunge over the edge of a cliff. Carter then demands that an end be put to the feud as he himself was a born McLane and now plans to marry Marian Conover.

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

Dir: Charles Brabin

Becky, a child, is left an orphan by the death of her father and is consigned to the tender mercies of the Misses Pinkertons, who conduct a fashionable school for girls. Becky feels keenly the semi-charitable nature of her life, and, when kindly-hearted Amelia Sedley invites her home, she eagerly accepts. It is then that Becky, the child, becomes Becky, the adventuress, cold, calculating and selfish. With the entrance of Becky into the peaceful Sedley home comes misfortune. Sedley goes bankrupt. Old man Osborne promptly breaks the engagement between Amelia and his son, George. Becky lays her traps for Joseph Sedley, Amelia's brother, and nearly succeeds in her designs on that self-satisfied young man. Urged by his faithful friend, Captain Dobbin, George marries Amelia. This change throws Becky into new surroundings. She goes to Queen's Crawley and enters the most active sphere of her existence. Her adventures with old Pit Crawley, her marriage to Rawdon Crawley, their poverty Becky's flirtation with Lord Steyne and her subsequent separation from Rawdon, the Battle of Waterloo and the death of George Osborne are all faithfully portrayed incidents of Thackeray's novel.

Dir: Charles Brabin

John Heppell, a wealthy young man about town, falls in love with Diana Laska, a noted actress, and marries her. After their child is born he tires of her and goes back to his old way of living. Infuriated at his neglect, Diana leaves him and goes abroad with Philip Goodier. He also tires of her in time, and she becomes a notorious character on the continent. Finally she awakens to the evil of her life and tries to reform. She finds her path strewn with thorns as the world holds her for what she has been. A longing is kindled in her heart for her daughter. Her first husband has remarried and refuses to permit her to see her. Sick of life, she attempts suicide. She is attended by Doctor Maxwell. He instills hope into her by promising to aid her in her attempt to see her daughter. Maxwell is an old friend of Heppell and partly by persuasion and partly by threats Diana Laska is received into the Heppell home as the governess for Heppell's son by his second wife. She meets her daughter only to find that she is engaged to Philip Goodier, the man who had cast her off. Horrified, she tells the Heppells her daughter must not marry him. Goodier denounces Diana, while admitting his relations with her, but cannot understand why she should have an influence over the Heppells. Finally, Diana tells him that the girl to whom he is engaged is her daughter. He consents to break the engagement only on condition that she leave the house and never see her daughter again. The woman who has developed under Doctor Maxwell's influence, then makes the supreme sacrifice of giving up her daughter to save her from her own shame. And through this sacrifice she wins atonement for her sins.

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

Dir: Charles Brabin

After wandering the world for fifteen years, Hiram Perkins returns home to find his wife running a small town newspaper to support their two daughters. With pity in her heart, Mrs. Perkins allows her husband to stay in the house providing that he not disclose his identity. Mrs. Perkins is waging a battle against the re-election of Joel Skinner for a seat in the assembly, and when she learns that Skinner has mistreated old Mrs. Miller, she is determined to expose his actions. Rome Preston, running in opposition to Skinner, requests that she stop the story, but Mrs. Perkins refuses and so Preston disables the press. With Hiram's help, Mrs. Perkins prints the story and Skinner is defeated. In revenge, Skinner's men burn the press and demand that Hiram be tarred and feathered. At this moment, Mrs. Perkins acknowledges that Hiram is her husband and all is forgiven as the Perkins family is reunited.

Dir: Charles Brabin

Though the Turk has 15 wives, he yearns to make our heroine his 16th.

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

Dir: Charles Brabin

Edgar Allan Poe, while at college, incurs many debts and is sent home in disgrace. He is ordered from the house by his father. Shortly after, he marries, and tries to make a living by writing, but is a failure financially. His wife dies because he is unable to furnish her with even the bare necessities of life. He is plunged into great grief and despair. All night he sits brooding over his loss. Through his distorted imagination he sees the ominous raven enter his chamber and croak gloomy forebodings. The spirit of his wife also appears and finally he himself dies, and is wafted to heights supernal, where he is united with his "Lenore."

Dir: Charles Brabin

Claiming that he has no need for social butterflies, Warren Dexter refuses to attend a reception at which he was to meet debutante Phyllis Lane. Humiliated, Phyllis makes a wager that she will lead Warren to the altar within the month. To gain his attention, she faints on his doorstep and then realizes that he is not at home. Peering through the window, Phyllis spies a woman stealing the silver, whereupon she enters the house and forces Mollie, the burglar, to exchange clothing with her. When Warren arrives, Phyllis feigns a guilty look and explains that her father and brother force her to steal. Hoping to reform the attractive "crook," Warren offers her a position as his maid and soon falls in love with her. Later the crooks again try to rob him, and after Phyllis helps him to foil their plan, he proposes. Upon learning her true identity, Warren is greatly offended, but Phyllis easily convinces him that her love is genuine.

A visual fragment from the archive: The thematic resonance of Mary Jane's Pa perfectly mirrors the editorial trajectory of our deep dive.

Dir: Charles Brabin

The forerunner of all serials, "What Happened to Mary" was a series of 12 monthly one-reel episodes, each a complete entity in itself, revolving its immediate dramatic and melodramatic problems within the framework of a single episode and designed more for story and suspense situations than action. Episode Titles (q.v.): #1: "The Escape from Bondage"; #2: "Alone in New York"; #3: "Mary in Stage Land"; #4: "The Affair at Raynor's"; #5: "A Letter to the Princess"; #6: "A Clue to Her Parentage"; #7: "False to Their Trust"; #8: "A Will and a Way"; #9: "A Way to the Underworld"; #10: "The High Tide of Misfortune"; #11: "A Race to New York"; #12: "Fortune Smiles."

Dir: Charles Brabin

Beatrix marries Herbert Buchanan while under his hypnotic trance, although she really loves Harry Faring. When Herbert learns of his wife's love for Harry, he disappears with Kansas, a tramp. Soon after, Beatrix falsely identifies a body at the morgue as her husband's and marries Harry, but when Herbert, still alive though ill and demented, appears at her door with Kansas, she confesses her lie to her new husband. Kansas' plans to blackmail Beatrix are ruined when Harry visits the two tramps, and Herbert, now dying of tuberculosis, pleads with Kansas to leave the couple in peace. Kansas agrees, and after Herbert's death, Beatrix and Harry return to a normal life.