Underground Favorites Parallel to the Artistry of Sowers and Reaper...

Dir: George D. Baker

A gypsy girl whose mother committed suicide after being seduced and abandoned by a rich man finds herself twenty years later being wooed by the same man.

Dir: George D. Baker

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

A grandmother has an adventure for the first time in her life when she decides to have a night out.

Dir: George D. Baker

An imperious Egyptian princess awakens from a 3000-year trance and wreaks comic havoc in the modern world, but it all turns out to be the dream of a young man, inspired by a mummy left in his care overnight.

Dir: George D. Baker

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

A fascinating piece of cinema that shares thematic elements.

Dir: George D. Baker

William Baldwin, ruined in business by his partner John Blaisdell, implores Blaisdell's aid and receives in answer a five-dollar bill inscribed with "Spend this for a gun and use it on herself." Hopelessly, Baldwin and his daughter Nan go to the Yujon, where the father dies and Nan earns a living in a rough dance hall where as "Nightingale Nan" she is the miners' idol. When she discovers that the little claim on Bear Creek, the only thing her father has left her, is worthless, at first she collapses; then she becomes defiant and tells the miners who have been forcing their attentions upon her that they may have her, the lucky man to be the winner in a card-game, she to take the money won in the game and go away to seek fame and fortune. A bearded stranger wins the game with a pair of deuces and pays her $1,000 a card, and she leaves with him for her cabin. Once there, however, she repents her rash bargain, and implores him to release her, offering the money in return. He makes her sign an I.O.U. for herself, promising to pay the debt at any future time that he sees fit. "You'll win success," the stranger tells her, "but in the hour of your greatest triumph I shall claim you, and you must return." She leaves on this condition. Nan's voice wins success for her all over the world. Five years later, as Mlle. Nanon Boldini, she is the reigning operatic queen at La Scala, Milan, then comes to the Metropolitan Opera House, New York, to make her American debut in "Lucia di Lammermoor." Her success is instantaneous. Two of the most important patrons of the opera house, business rivals John Blaisdell and James Van Brunt, are united in their admiration of Mlle. Boldini, and obtain an introduction. When Nan discovers the identity of Blaisdell, the man who ruined her father, she quietly plans his downfall. She encourages his attention, even at the risk of displeasing a young stranger with whom she has fallen in love. She refuses an offer of marriage from the man who won her heart, telling him of her promise made under amazing conditions to a man in Alaska five years ago. That promise, she tells him, must be fulfilled, no matter how great the sacrifice she makes in doing so. Inviting Blaisdell to her apartment to dinner, she has a telephone connection so arranged that James Van Brunt, at his downtown office with the receiver at his ear, hears Blaisdell's answers to the carefully prepared questions Nan asks, betraying all his business secrets. As Blaisdell falls across the table in a drunken stupor, after having told everything, Nan's triumph is complete. It is at this moment that two fateful cards, the deuces with which the Alaskan won his game, are thrust under the door, and Nan falls fainting. The next day she prepares for her journey to the Northland, ready to pay the price of her five years' freedom. The man she loves insists on accompanying her. Going to her little cabin, she finds it sumptuously furnished. As she turns to her lover in surprise, he places on the table a crumpled "I.O.U." then tears it in two, giving her the pieces. As the realization slowly dawns on Nan that the man she has learned to love is the bearded stranger of so long ago, she fits the two pieces of the "I.O.U." back together, presents them to him, and creeps into the arms of her stranger-lover.

Dir: George D. Baker

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

To prevent Ben Farraday from exposing the whereabouts of her brother, an escapee from prison, Nan Kennedy agrees to steal important papers from Farraday's enemy, John Lawson. Nan is caught and Lawson agrees to let her go free on the condition that she do his bidding for a year. After arranging a wedding between Nan and Billy Bond, the son of a man whom he blames for stealing his wife, Lawson shocks everyone during the wedding reception by announcing that Nan is a thief. Billy runs away and turns to drink and Nan's only thought is to seek vengeance against Lawson. Knowing that his one weakness is his belief in spiritualism, Nan poses as a medium and advises him to sell certain stocks. The next day, Lawson finds himself ruined. Meanwhile, Billy vows to kill Lawson, leaving a note to inform his father of the deed. Discovering the note, the elder Bond rushes to Lawson's house and announces that Billy is actually Lawson's son. Overcome, Billy's nerves break and he cries for Nan. Lawson, repentant, finds her and a happy reunion takes place.

Dir: George D. Baker

Overcome with guilt after having an affair with her best friend's husband, Clorinda hopes to escape her past by moving to Europe, where she meets Malcolm, a decent man who falls in love with her. Unable to accept his love, she returns to America and confides her sin to Rev. Bainbridge. Malcolm has followed her, but when she discloses her past, he turns his back. Rev. Bainbridge proposes and before the marriage takes place, Malcolm returns, begging Clorinda's forgiveness. Preferring the worldly man over the minister, Clorinda marries Malcolm and they begin their new life together in France.

Dir: George D. Baker

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

Acting on his belief that most people become sentimental at Christmas time and are therefore easy prey, New York confidence man "Silk" Wilkins ingratiates himself with millionaire Lawrence Gray, whose wife and little daughter Zelda were lost in a flood eighteen years earlier. After promising to find Gray's daughter, Silk returns to his boardinghouse, where he finds Alice Sheldon attempting to escape her desperate financial straits through suicide. Silk convinces Alice to pose as Zelda Gray and then notifies Lawrence via a note placed in an almond shell that he has found the lost daughter. Lawrence treats Alice so kindly that when Silk demands payment from her on Christmas morning, she refuses. Lawrence, who has overheard the conversation, enters and laughingly reveals that he had known of the frame-up all along. Grateful to Silk for finding him a wife, Lawrence writes the confidence man a large check.

Dir: George D. Baker

Joline, a "Daughter of Joy," becomes enamored of Paul Granville, a poor artist, and as his model enables him to win fame in a series of startling canvases. A wealthy patron of art commissions Paul to paint "The Madonna of the Rose Bush," and he feels that a new model is needed, but the jealous Joline drives them away, and they start for the monastery, where the miracle of the rose bush is supposed to have occurred. There a monk declares that in Joline he has seen the Virgin, and some chord in her better nature is touched. She leaves Paul, but is reunited when she, a Red Cross nurse, finds him wounded upon the battlefield.

Dir: George D. Baker

Peter is smitten with Winifred, a model, whom he met on board the steamer returning from Europe, but is discouraged by his sister, Ena, who is more ambitious for him. Peter is the son of Peter Rolls, the wealthy New Yorker. Ena tells Winifred that Peter is engaged to Eileen, sister of Lord Ravglan and that he is just trifling with her. Winifred believes her and refuses to speak to him. Before disembarking, Ena gives Winifred a stylish gown which she bought in New York. Winifred is working in a stylish modiste's shop. One of the best customers insults her and she slaps his face. Mme. Nadine, the modiste, sees her action, and fearful of losing the customer, discharges her. She tries to get a position in the other shops, but in each case finds herself blacklisted by Madame Nadine. In sore straits, she moves to cheaper quarters. She meets Lily, a salesgirl in Roll's department store, and the former takes her to Megeison, the store manager to get her a position. The manager, at first says he has no opening, but when he sees what a handsome girl Winifred is, he employs her. Ena Rolls comes to the store to do some shopping, and sees Winifred against whom she harbors a dislike. She makes various remarks calculated to arouse Win's anger, and when Win resents them she complains to Megeison, who pretends to discharge her. When Ena leaves, he tells her that she may remain and transfers her to another department. Megeison arranges a party for that night at which Winifred, Lily, a floorwalker and himself are to be present. Megeison tells the floorwalker to escort the girls to the party, but to keep them ignorant of the fact that it is to be held at his house. Winifred dons the dress Ena gave her, the only decent gown she possesses. They start off, but when Winifred sees that she is being taken to his apartment she tries to back out, but she is persuaded to continue by Lily. Meanwhile, Peter in his hunt for Winifred, gets a clue which leads him to the department store. Here he learns that she has been discharged and is told that Megeison could give him her address. In Megeison's apartment, all drink except Winifred and after a while, she feels sheepish and drinks with them. She catches Megeison trying to "dope" her drink and denounces him. He catches her and tries to kiss her and a struggle follows in which her dress is badly torn, the pieces falling on the floor. She manages to elude him and escapes to another room where she locks herself in. Peter enters and asks for information about Winifred, but Megeison tells him that he knows nothing about her. Then the pieces of Winifred's dress catch his eye and he demands to know the truth. Megeison's valet, who went through another room to admit him, opens the door and Peter sees Winifred within. Winifred shrinks from Peter, thinking he is in league with Megeison, but when she realizes that he really loves her and has come to claim her for his own, she leaves misery behind, and goes with Peter, her suffering relieved in the knowledge of his devotion.