Visionary Picks In Alignment with the style of Smashing Through: Cu...

Dir: Elmer Clifton

When his father commits suicide after being ruined by dishonest stockbroker Abner Hinman, Randolph Shorb resolves to gain revenge and rebuild his fortune by whatever means necessary. With the aid of notorious crook Philadelphia Johnson, Randolph becomes the head of a gang of thieves and is thereafter known as The Ferret. Joe Freeman, the brother of Randolph's girlfriend Mary, moves to the city, where he is robbed by Johnson and forced to hold up a bank. Mary learns of Joe's troubles and rushes to the city to help him but is lured to a rooming house and attacked by Johnson. Joe disappears with the intention of committing suicide, after which Randolph, frantic over both Joe and Mary, goes to the power house and flashes a message in Morse code over all of the city's electric lights. Through his message, Joe regains hope and Mary is rescued. After the gang's arrest, Randolph vows to lead an honest life.

Dir: Elmer Clifton

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

When an aviator dies performing in a traveling circus, the circus closes and side show con men "Sky-High" Billy Wardell and "Domino" Dominick are arrested for giving out fake watches to wheel of fortune winners. After Domino springs the jail's lock, they jump a freight train and arrive in the next town, where Billy falls in love when Jane Higgenbotham allows them to breakfast on her freshly baked pies. When Billy, who gets a job as a reporter, learns that Jane's father Dave, an inventor, has no money to manufacture his "aerochute," designed to insure airplane safety, Billy opens a stock company and sells shares to villagers and farmers. After Ed Warmbath, a disappointed rival for Jane's affection, learns that Billy is wanted for jailbreak, he informs the townspeople, who demand that Dave return their money. Because Billy sees that Jane doubts his honesty, he volunteers to test the chute in a plane piloted by Murphy, a circus friend. Murphy's drunkenness inspires Billy to jump, and he lands safely, thus winning back the townsfolks' confidence, and Jane's love.

Dir: Elmer Clifton

When young inventor Bob Moore fails in his efforts to provide his father, a safe manufacturer, with a lock that is burglar proof, he contacts The "Eel," the most talented safecracker in the city, to offer him a job in his factory. The Eel, deciding to go straight, accepts the offer, but when he later learns that Irene Hardin has been given a valuable necklace by her father, The Eel plans one last job to secure Irene's pearls. Meanwhile, Irene's father, also a safe manufacturer, places the pearls in his own safe and tells Bob that if he can open it, Irene will be his. Bob, in love with Irene, opens the safe and places the pearls on the handle. After he departs, The Eel enters the house and steals the pearls. Bob is accused of the crime, and to exonerate himself, pursues The Eel. After a lively fight, Bob recovers the necklace and returns home to claim his bride.

Dir: Elmer Clifton

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

Colonel Court, an agent in the Secret Service, is distressed by the occasional lapses of courage in his son Henry, a college athlete. Unknown to him, Henry's sweetheart Ellen is also an agent working on a case involving a radium smuggler, "National" Jim. To build his son's character, Court puts him on the same case that Ellen has been assigned to, but his courage again fails him. Henry decides to turn to the powers of the psyche and hires three men to communicate power and courage to him through intense concentration. The scheme works: Henry enters Jim's house in time to defeat him in a fight, locate the hidden radium and save Ellen.

Dir: Elmer Clifton

Down on his luck after his discharge from the Armed Services, Henry Warner snatches a gentleman's wallet, then rushes into the home of a wealthy man named Middleton to escape the police. Middleton threatens to expose Henry unless he steals a certain document for him which is hidden in the home of his nephew Craig. Henry traces Craig to the modest abode of Ruth Orton, who has been left penniless by her father's death. Through Ruth, with whom he has fallen in love, Henry obtains an invitation to a reception at which Craig intends to announce his engagement to Ruth. The document in Craig's safe is the late Mr. Orton's will, in which he bequeathed his entire fortune to Ruth, but which Middleton had earlier falsified to his own advantage. Having saved Ruth from the machinations of both crooks, Henry gives her the will with a declaration of his love.

Dir: Elmer Clifton

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

When Janice Webster's (Dorothy Gish) father dies and leaves her guardianship to Ethan Dexter and Henry Jarvis, the vice presidents of the Webster Trust Co., which holds her fortune until she reaches 18, her official fathers become alarmed by her quirky shenanigans. Deciding that marriage is the way to tame her, Dexter proposes and is accepted. Then Winfield Jarvis, Henry's son, proposes and is also accepted. In a muddle as to which to marry, Janice confides in bank teller Steven Peabody, who loves her himself. Later, Steven overhears Dexter boasting of his future control of the Webster millions, but before he can warn Janice, the banker locks Steven in the closet and goes to meet his bride-to-be. Steven escapes and arrives in time to find Dexter and Jarvis arguing over Janice who then reads aloud a letter written by her late father denouncing both vice presidents and announces that she will marry Steven.

Dir: Elmer Clifton

Polly has herself arrested and committed to a reformatory in order to investigate conditions at the institution, after the committee charged with the investigation whitewashes the facts.

Dir: Elmer Clifton

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

Saul Chadron, a brutal cattle baron, is distressed that homesteaders are intruding on his domain and hires outlaws to drive them away. Alan MacDonald, who leads the homesteaders, learns that Chadron has hired Mark Thorne, a vicious criminal, to kill him. His growing love for Frances Landcrafe, a visitor at the Chadron ranch, makes Alan bold, however, and he attends a masquerade held in her honor. Meanwhile, Thorne, claiming that he has killed Alan, demands payment from Chadron, and when the cattle baron refuses, the outlaw kidnaps Chadron's daughter Nola. Alan rescues her, but Chadron's troubles continue as the townspeople, angered over the murder of a child, decide to hang him. Alan intercedes, but Thorne, just before his own murder, shoots Chadron. Alan is then free to turn his attention to Frances and his land claim.

Dir: Elmer Clifton

Jane is a rootless young lady who finds an abandoned child and adopts it as her own. The decision, however, leads to great conflict with the child's vicious outlaw father.

Dir: Elmer Clifton

Framed by police inspector Finch and his managing editor, R. H. Steadman, to cover up their own crooked work, reporter John Mull languishes in prison until he escapes, determined to wreak vengeance. In Mull's absence, his sweetheart, Bess Miller, has been dating Burton Grange with whom she plans to elope. When Grange has an altercation with Steadman, in the scuffle, Steadman is knocked unconscious. Grange flees and is arrested for Steadman's murder but escapes and encounters Mull, now a fugitive from justice. After persuading Grange to give himself up, Mull pays a visit to Finch and forces him to confess to Steadman's murder. With Finch's testimony, Mull is also vindicated of charges and is free to marry Bess.