Underground Favorites Mirroring the Impact of The Cave Man: Cult Guide

Dir: Theodore Marston

Robin Hood and his followers aid the poor and oppressed from their hideout in Sherwood Forest, pursued by the Sheriff of Nottingham.

Dir: Theodore Marston

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

Unknown to Judith Ralston, her brother Budd and his wife Vera are counterfeiters. To escape Rayban, a secret service agent, they leave Judith at a little town in Virginia. One day while out horseback riding, Judith is injured and rescued by Boone Pendleton, who takes her to his cabin. Later, she receives instructions from her brother to go to the Ralston house and destroy anything that she sees. Rayban, suspicious of the girl, wires Washington to shadow her. Meanwhile, Rayban has arrested Budd, who escapes and returns to the house where he meets Judith. Learning of her brother's true occupation, Judith extracts a promise of reform from him before he eludes the secret service agent once again. Judith then informs Boone that she had no knowledge of her brother's business, and the two are married.

Dir: Theodore Marston

Tatters holds court in a rundown little village at the mouth of the main shaft of the Tilson iron mines. The court consists of miners' children. Tatters firmly believes that she is descended from royal blood, for had not "Crazy Anne" told her that her mother was a queen and her father was a king? In the days of prosperity Anne had been Tatters' mother's maid, but the only proof she had of Tatters' royal lineage was a trunk full of regal gowns and a newspaper clipping. Old man Tilson was so busy with other matters that the little iron mine which bore his name interested him little, and the complaints and pleading of his manager, Tom Brennon, interested him still less. It was not until he received a frank letter from the village priest that he even condescended to send his secretary, Daniel Grant, to make the best terms possible with the men who had been incited by Lem Braxton to threaten a strike. Braxton was a sorehead, and had vowed to get even with the whole outfit for fancied wrongs. His first meeting with Grant resulted in a combat, and Grant was speedily added to Braxton's list of undesirables. In fact, he went after him first, and while Grant was fishing in an interval of work at a stream which had pointed out to him by Tatters, Braxton stole up behind him, and after a fight threw him over a cliff. Little Tatters found the secretary more dead than alive, and with Crazy Anne's help she brought him to her own little hovel and nursed him back to health. In the meantime, Grant's disappearance had alarmed Tilson, and ho had come on personally to search. Braxton soon found an opportunity to revenge himself upon Tilson and Brennon together by undermining the shack in which the iron mine's office was located, and allowing it to drop two hundred feet into the mine below. Just as he was about to pull this terrible trap, Tatters and Grant come up behind him, on their way to the office, and Tatters engaged the giant long enough for Grant to warn Tilson and Brennon of their danger. Though badly hurt she made her way to Anne's home, and Anne put her to bed. Tilson and Grant visit the hovel to thank the little girl for her brave deed, and what is Tilson's surprise to find on the little trunk over which Anne has erected a ridiculous throne, the word "Corinne." Like a flash his memory goes back to the actress wife with whom he had quarreled, and he rushes into the bedroom to unravel the gnawing tangle which his memory has conjured up. To his amazement he discovers in the child a replica of Corinne Tilson, his wife, and he explains to the surprised priest and his secretary how it was possible for the little girl to think that she was of royal parentage. The newspaper clipping declares Corinne to be Queen of Bohemia, and Tilson, King of Finance.

Dir: Theodore Marston

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

Eve Leslie is becoming indolent. The fortune she has inherited has made her unwilling to stir about any more than is necessary. Adam Moore, a member of the National Guard, is called out to help defend the country. Eve doesn't want him to go. She doesn't see any sense in his going to the front, especially since he will be away from her and will not be able to take part in a number of parties that have been arranged. Petulantly, she sits down to read. One after the other come before her the exciting stories of heroines of the past. Comes the story of Sally Wells who braved Indians and wild animals to preserve a claim for her family. Sally Wells is followed by Margaret Brent, whose home was captured by pirates, bold men who fought first against her, then for her. Next follows the thrilling tale of Molly Pitcher, in all the glory of the battle of Monmouth, in which she manned a cannon herself and turned the tide of battle against the British. Eve finishes reading. Inspired by the actions of these great women she conquers the sin of sloth, cheers Adam as he leaves with his regiment and follows him to the battlefield as a Red Cross nurse. There she is tested, as were the brave women she read about, and she proves as true as they had been.

Dir: Theodore Marston

When Deputy US Marshal Frank Dalton is killed in the line of duty, his brothers Bob and Grat are appointed to replace him. However, when they discover corruption in the higher echelons of the Marshals Service, they resign in disgust. Grat is cheated by a crooked gambler and takes back his money at gunpoint, but that winds up getting them labeled as robbers. Grat is wrongly accused of train robbery and imprisoned. When he breaks out of prison he and his brother decide to take their revenge by actually robbing the express company that falsely accused him in the first place.

Dir: Theodore Marston

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

A series of seven 5-reel features (q.v.), based on stories published in The Ladies World, a McClure publication, depicting each of the Seven Deadly Sins: (1) Envy (1917), (2) Pride (1917), (3) Greed (1917), (4) Sloth (1917), (5) Passion (1917), (6) Wrath (1917), and (7) The Seventh Sin (1917). The characters of Adam and Eve, portrayed by George Le Guere and Shirley Mason, were represented in some capacity within each story. The films were cut to two reels and re-released in 1918.

Dir: Theodore Marston

"The Dawn of Freedom" is a stinging satire on the death of those ideals that prompted the founders of the United States. It contrasts in bold outline the spirit of '76, when every American worked for the welfare of the new-born country, with the attitude of the modern-day American who looks only to his personal gain with no thought of his country. Richard Cartwright, a revolutionary patriot, like hundreds of others, was granted a plot of land in the Alleghenies. Cartwright was engaged to wed Elizabeth Bradbury, and in company with a small party, he left for his plot of land, promising to return in the fall. Arriving at the land, he was captured by Indians. Later he was rescued by Ambrose, a missionary, who had spent many years in India. Ambrose's efforts to save Cartwright came to naught. Ambrose was versed in Eastern hypnotism, so he decided that rather than to have Cartwright tortured and probably burned at the stake, he would put him in a trance and have him buried, after which he would exhume him and bring him out of the trance. But after the burial, Ambrose himself was killed. Before being put under the spell Cartwright wrote his will, giving his land half to his brother and half to his fiancée. One hundred and thirty-nine years afterward we find Cartwright's little plot of land is made up of coal mines worth millions, with a descendant of Philip Cartwright, brother of Richard, in sole control and with Elizabeth McLean, great granddaughter of Elizabeth Bradbury, the daughter of one of the miners, dependent upon the scant wages of a miner. In his grasp for power Cartwright has frozen McLean out of what was his half of the property and the latter is now living in poverty. The miners go out on strike. Cartwright refusing both demands, violence is resorted to and one of the coal mines is blown up. In the terrific explosion, the aluminum casket holding the body of Richard Cartwright is blown to the surface, where its top is blown off. Dick, son of the coal baron, encounters the casket just as Cartwright, delivered from his trance by the impact of the explosion, steps out of it. He is emaciated and has much the same appearance as a butterfly emerging from its chrysalis. The patriot is taken to Dick's home, where is witnessed the insidious inroads of a war, not the Revolutionary War, but a war of a social kind, where each individual is engaged in waling on the necks of his brethren. He learns from Dick of the rapid growth of the United States and of the marvelous inventions. These are He also learns that McLean, whose ancestors owned half of the property, now is poverty-stricken. Confronted by the patriot and by the rioting strikers, Cartwright dies of heart failure and the patriot, attempting to quiet the strikers, is mortally wounded, but his courage and spirit, that of '76, is transfused to Dick, the son, and everything ends happily for the workers.

Dir: Theodore Marston

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

Surgeon Crisp announces to his student doctors and friends that he has solved the problem of limb-grafting, and shows proofs. Among those deeply interested is Mortmain, a friend of Dr. Crisp's. Mortmain is a gentleman of leisure and collector of rare art subjects and is heavily in debt to his friend, Cordon Russell. He is warned of that debt by Russell's lawyer, a friend of Mortmain's. While Russell at first has no desire to call in the loans, when the two men become rivals for the affections of Russel's ward, Bella Forsythe, things change. Knowing the weakness of her brother, Tom, Russell gives the latter a chance to fall into trouble, hoping to turn that fall into his own advantage. Tom falls into the trap and Russell uses this fall against Bella, who has become engaged to Mortmain. Meanwhile, Mortmain is told he is completely ruined by Flynt, Russell's lawyer. He curses Russell and his declaration that he would like to kill the man is overheard by Flaggs, the clerk of Flynt. Mortmain is informed of the murder of Russell, also that the police are after Tom Forsythe. Mortmain faints and in falling injures his hand terribly. Dr. Crisp informs him he must lose his hand and suggests he get another man's hand to graft upon the stump. He consents and Crisp finds a man who will give his hand, it is Tom Forsythe. During the operation Tom dies. Dr. Crisp has recognized Tom and keeps the news from Bella. Mortmain regaining consciousness after the operation, sees an uncanny vision of Flaggs and learns that Tom Forsythe, who gave him his hand died in the operation. He finally awakens from his terrible dream to learn that Tom is alive and well, and that the real murderer was Flaggs' while Mortmain's hand is his own.

Dir: Theodore Marston

A fascinating piece of cinema that shares thematic elements.

Dir: Theodore Marston

Lecherous theatrical manager Allan Bowen is shot and killed while attempting to rape Vera Hampton. Wade DeForrest, the son of a wealthy woman, is charged with murder. Wade's companion that evening, Shaler Spencer, once a prominent lawyer but now an idler who has squandered his brother Rod's inheritance, decides to confess to the killing if Wade's mother will pay Rod $100,000 the day Shaler enters "the black gate" - the door to the death chamber. Mrs. DeForrest agrees, but when Vera, who earlier was Shaler's lover, visits him and they reconcile, he announces his innocence. When he sees Mrs. DeForrest's tears, however, he admits that he did fire at Bowen. Later, Shaler discovers that the bullet in Bowen could not have come from his gun, then Wade confesses that he killed Bodwen out of jealousy because he had fallen for Vera after she left Shaler. In the end, Shaler and Vera decide to marry.