Cinematic Discoveries Resonating with the Themes of The Blue Boy: Cult Guide

Dir: Edgar Jones

A mail-order bride arrives at a Maine lumber camp but doesn't like her prospective husband.

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: Alexander Butler

In Alberta, Canada, a Cornish emigrant unmasks a rustler posing as the girl's "blind" father.

Dir: Arthur Maude

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

Rhea Woodley's child dies at birth, and the doctor tells Martin Woodley that his wife must never be subjected to such an experience again. This forms the basis of separation between them. Rhea is a semi-invalid, and Martin's virile manhood seeks the physical companionship he is denied and finds it in the person of Maysie, a young cousin of Rhea's, who comes to visit in their home. The breach between the husband and wife continues to widen. A former rejected lover of Rhea's discovers the situation and takes a malicious pleasure in exposing it to Rhea. Rhea offers her husband his freedom, but he will not admit his love for the other woman, even to himself and refuses to be released. As a last resort, Rhea permits the attentions of Welsey, and goes with him to a roadhouse, leaving an anonymous note advising her husband of their destination. Martin and Maysie follow Rhea and her lover and discover them together. Rhea pretends a passion for Welsey until her husband is gone, when she turns upon him in scorn and denunciation. Martin obtains a divorce and Maysie, with a chaperon, takes charge of the household. Rhea goes to a sanitarium, where the doctor, to save her life, hits upon the inspiration of giving her a motherless baby to care for. Martin, going to his wife's room, drawn by the memory of happier days, finds in her diary the record of her sacrifice and overcome by his injustice, breaks with Maysie and returns to find Rhea with the baby, which will have its part in helping to fulfill his dream of home and happiness.

Dir: Robert N. Bradbury

A simple country girl, brutally mistreated by her stepfather, awakens first the sympathy, then the love, of The Boy. The Spider, who lusts after The Girl, makes a bargain with the stepfather and takes her to the city where, kept prisoner, she is soon broken in health and spirit. Cast out and near death, she is taken in by The Boy. Following the demise of The Spider, The Boy takes her to church, where he prays, and after many hours she is restored to health.

Dir: Arthur Maude

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

Judson Brand, a powder manufacturer, is approached by the envoys of two warring nations, but before entering into a contract with Baron Von Halstyn, envoy for Gravonia, he sends his son, Marshall, to investigate the country's financial condition. Burghoff, Sashofen's envoy, is advised of a blockade and instructed to halt shipments of munitions to the enemy. Both envoys try to enlist the help of Jan Bernheim, a clever political exile from Gravonia. Out of revenge, she promises to aid Burghoff, but patriotism prevails and she goes over to Von Halstyn, although pretending to remain in the employ of Burghoff. Elinor, Brand's daughter, is engaged to Fosdick, a humanitarian propagandist, who opposes Brand's mercenary attitude in furnishing munitions. Burghoff allies himself with Fosdick, and together they hope to control the vote of the congressional committee against furnishing munitions. The committee is divided in opinion and the deciding vote is with Hayes, the chairman who favors the non-participating policy. Brand quarrels with Fosdick about the issue and forces Elinor, in sympathy with Fosdick, to break her engagement, when Fosdick refuses to renounce his principle. Jan induces Burghoff to give Fosdick a check for a thousand dollars "for charitable purposes." Jan secures the canceled check which the unsuspecting Fosdick has accepted, for evidence against him, and when Von Halstyn urges her to win over Hayes to their side, she does so by showing him the check, which she makes him believe was accepted as a bribe from Burghoff. Burghoff refuses to accept defeat and proposes to Fosdick the blowing up of the powder mills, but Fosdick refuses to listen, so Burghoff undertakes it alone unknown even to Jan. Brand's son, traveling through the war zone, finds their Brandite shells being used by both sides, and is so absorbed in commercialism that he is untouched by the evidence of suffering about him. Fosdick saves the life of a child belonging to one o£ the men employed by Burghoff to blow up the mills. Brand receives a favorable report from his son and he and Von Halstyn ride over to the mill to sign up the contract, accompanied by Elinor and Jan. Fosdick, in Burghoff's office waiting for him, answers the telephone and learns of the plot to destroy the mills within an hour. He tries to reach Brand only to find that he and Elinor have gone to the mill. Fosdick drives to the mills, and through his efforts the plan only partially succeeds; no one is hurt but Mason, the man who was on the job. Fosdick is found trying to put out the fuse and is accused by Brand of attempting to blow up the mill. Mason, however, clears him when he recovers and Von Halstyn and Jan are arrested by a secret service man who has been trailing them. Brand stubbornly insists that Fosdick is to blame for it all and vows he will sign the contract away. Then the final argument presents itself, his beloved son has been killed by a Brandite shell. Later Von Halstyn and Jan are deported. Burghoff flees the country and Fosdick and Elinor are united. Brand turns from the manufacture of ammunition to Red Cross work.

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: Wilfred Lucas

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

Brian O'Farrell (Snowy Baker), is an English 'new chum' who takes a job at an Australian cattle station. He is teased by station hands because of his appearance (including spats and a monocle) but he soon impresses them with his skills at riding and boxing. The station manager, John MacDonald (Wilfred Lucas), takes O'Farrell to Sydney to meet his daughter Edith (Kathleen Key) who is working in the slums. Edith is kidnapped by criminals after witnessing a crime but O'Farrell rescues her. It is later revealed he is the owner of the station.

Dir: Charles Horan

While working as a flower girl in Devlin Maddox's nightclub, Nellie Vaughan meets wealthy young Pelton Van Teel and falls in love. Maddox, desirous of using Nellie to blackmail Van Teel, spreads a rumor that she is his mistress. This makes Nellie uncomfortable, and she demands that Van Teel marry her immediately, to which he agrees. Meanwhile, Van Teel has been losing money gambling to Maddox, who threatens to break up the marriage by producing a worthless check that the young husband has written. Venturing to Maddox's apartment for a showdown, Nellie pulls a gun and demands the check, accidentally shooting Maddox when he throws a lamp at her. Maddox plans to charge Nellie with assault, but when the police arrive, his butler, actually a detective employed by the elder Van Teel, exposes Maddox, who is then arrested, clearing the path for the couple's happiness.

Dir: Unknown Director

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.