Curated Recommendations Seeking the Same Brilliance as Seven Days: ...

Dir: Richard Smith

Two female candidates for Chief of Police live across the hall from each other, and their political rivalry follows them home, leading to plenty of hi-jinks.

Dir: Reggie Morris

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

A fascinating piece of cinema that shares thematic elements.

Dir: Scott Sidney

Most of the patients of Dr. Ward Allison are women, and his wife Margery is becoming increasingly jealous of all the time he spends with them. One day he tells her that he has been called out of town, but she is told that he is really staying at the house of a friend and colleague, Dr. Hendon, and the two are planning wild parties with their female patients. What she finds out, however, is even more shocking than what she expected.

Dir: Scott Sidney

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

Reared by a childless ape, the orphaned heir of the Greystokes becomes one of the apes. Then Dr Porter organises a rescue expedition, and his beautiful daughter Jane catches his attention. Has Tarzan of the Apes found the perfect mate?

Dir: Scott Sidney

The action takes place in Algeria where Hafsa, the daughter of wealthy old Sidi Malik, has aroused the avidity of Leila Sadiya, the "mother" of the dancing girls. She gives orders to have the girl kidnapped and brought to her. Meanwhile Gordon Roberts, a young American who is traveling in the Orient, saves the life of Karan, a Bedouin chief, and earns the undying gratitude of the Arab. Gordon meets Hafsa while she is shopping in defiance of her father's commands and wins her regard by sheltering her from the old man. He is infatuated with her and disguises himself as a peddler in order to meet her again. He is discovered by Nakhla, a spy of her father's, who promptly has Gordon beaten by his retainers. Gordon and the girl elope, but are captured and the American is turned over to one Abdallah with instructions to sell him as a slave. Hafsa bribes Abdallah to let her go in the caravan in which Gordon is kept drugged. Karan learns of the predicament of Gordon and worms his way into the friendship of Abdallah until he can drug the guards. But when Gordon is about to escape, he recognizes Hafsa and demands that she go in his place. Karan finally yields to the girl and takes Gordon away. Hafsa is delivered to Leila and is not seen again by Gordon until she dances at a great fete. She is offered for sale and Gordon makes a desperate effort to outbid an old sheik, but fails. On the wedding day, Hafsa substitutes her maid for herself and escapes with Gordon, but the deception is quickly discovered and a pursuit is begun. As the fugitives reach the garden gate, Malik arrives and cuts off their escape. The pursuing Leila comes up and stares in wonder at Malik, who proves to be her husband. She is the mother of the girl whom she has been attempting to hand over to the sheik. Just at this moment the old man himself and his retinue are heard approaching and Leila implores Malik to permit his daughter to go her way with Gordon, Snatching the girl's scarf, Leila throws it upon the edge of the garden well, as the lovers make their escape. When the sheik arrives upon the scene, he is shown the scarf and told that Hafsa has chosen her own fate, rather than marry him. Under the chaperonage of the faithful Karan the lovers depart across the desert on the road to love.

Dir: Malcolm St. Clair

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

A dancing instructor gets involved with a newly rich family.

Dir: Scott Sidney

Barnard completes a study in oils which he calls "The Resurrection." It represents a beautiful, dark woman, her awakened soul shining from her eyes. At a private exhibit in the studio the painting causes a great deal of admiring comment, and Barnard's mother, a society leader and an art connoisseur, admits to her son that he virtually "imprisoned a woman's soul" in the canvas. The soul of the picture, a few days later, stirs to the depths of her being a sordid girl of the underworld whom Barnard has found in the night courts and persuaded to become his model for "The Fallen Woman." Irene Brock, once she has met the rapt, spiritual gaze of Barnard's ideal, involuntarily revolts against the hideousness of her environment. The trade she has been accustomed to ply in saloon dance-halls and low resorts becomes a torture to her. Day by day Irene watches the new painting grow. But she is changing. Barnard, feeling that something is unsatisfactory, and that he will be unable to paint from his model "The Fallen Woman" of his imagination, reluctantly brings the sittings to a close. The moment of parting precipitates an emotional crisis. Love, for the first time, has dawned in the girl's soul, and Barnard, moved by a profound sympathy, takes her in his arms. The young artist's mother finds them in this position; she diplomatically conceals her horror while smilingly asserting that "that could never be." Irene goes away, struggling to be resigned. But the young artist, fired by a self-sacrificing love, refuses to let this end the episode. At last, the mother seeks Irene in her squalid lodging. "Such a marriage," she pleads with the girl, "would make my son a social outcast. Even your love could not always make him forget." The soul of "The Resurrection" working upon her heart, and controlled also by her deep love for Barnard, Irene promises to cure him of his passion. That same night she deliberately gives herself up to a detective an old enemy of hers. The following morning she sends for Barnard to come to the night court and pay her fine. He goes. She is brought before the judge. To the charge, she replies, "I am guilty." Silently, Barnard puts the money on the desk. Outside, in the corridor, they meet. By sheer force of will, she resists the almost overwhelming impulse to fling herself in his arms and tell him the entire story of her deception. The next instant, with a murmured good-bye, he turns and rushes out of doors. That evening Irene slips into the deserted studio, and stands long before the painting of "The Resurrection." From these wonderful eyes she imbibes strength for her lonely struggle with the world.

Dir: Unknown Director

A visual fragment from the archive: The thematic resonance of The Road to Love 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: 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: Hal Roach

An American book salesman (Lloyd) is persuaded to go to the kingdom of Thermosa to impersonate the Prince. He is greeted by a peasants' revolt before the real prince shows up to claim his throne and princess. The revolution succeeds, and the American is elected president of the new republic.