The Essential Watchlist that Capture the Essence of The Cinema Murder: Cult Guide

Dir: George D. Baker

Col. Jessup of Mayville does not waste any affection on his young wife, who finally runs away with a theatrical company, taking her son with her, but leaving her baby daughter. Later, she dies, and the boy, Byron Bennett, known as Buddy, is leading man for a theatrical company playing one-night stands, but this season has been disastrous and the company is about to disband when they receive word that the house is sold out for the performance at Mayville, so they hang on. However, the manager collects the receipts for the performance and takes the first train, leaving the company stranded. Buddy secures a position as Instructor for the Jessup Volunteer Hose Company which is to give an amateur theatrical performance. He persuades Grace Jessup's father to allow her to take the leading part in order to out-do Hose Company No. 1, which also plans a performance. Grace becomes interested in traveling salesman Percy Pennington. He tries to persuade her to elope, but she refuses until he makes a definite promise of marriage. He boasts to Buddy and his friend Skinny and intimates that the promise will not be carried out. Soon after, he starts out riding with Grace. Buddy is suspicious and follows on a bicycle, but is outdistanced. At last, however, he sees the horse tied by the roadside, and hears Grace scream. Rushing to her assistance he overcomes Percy, and carries a wilting Grace home.Col. Jessup, thinking Bud is the culprit, fires at him twice. One bullet lodges in the shoulder; the other is stopped by Buddy's watch in which he carries a picture of his mother. Grace regains consciousness and explains matters, and Jessup is amazed to find that the picture in the watch is that of his wife. The doctor advises that Buddy will recover, and there is a reconciliation among father, son, and daughter.

Dir: George D. Baker

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

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

The disgrace and suicide of her father drives Eleanore Marston from her comfortable existence into a life as a department store clerk in New York. There she meets wealthy Powers Fiske, who offers her a life of luxury if she will consent to an operation on her brain which would deprive her of her memory. Eleanore agrees, and after the operation, Fiske is horrified to learn he has robbed her of her individuality and that she has become cruel, selfish and remorseless. Dr. Trow, a friend of Fiske, hypnotizes Eleanore to learn of her previous incarnations. Eleanore first remembers herself as a heartless Viking woman, then progresses to a Borgian princess, ending as a woman persecuted as a witch in Salem. Continuing to exercise his power over her, Trow draws Eleanore to the edge of a cliff. They are followed by Henry Johnson, one of Eleanore's compatriots from the department store, who traced the girl to Fiske's house. At Eleanore's plea for help, Johnson leaps upon Trow and the two plunge to their death over the cliff. Fiske arrives just in time to lead Eleanore back to the house. He appeals to a great scientist who restores her memory by means of a second operation, and Eleanore then becomes Fiske's bride.

Dir: George D. Baker

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

Although Earle Courtney has married factory girl Annie Leigh, his millionaire father, Major James Courtney, is determined that Earle will marry the wealthy Ethel Ainsworth. Courtney kidnaps his son and sends a message to Annie requesting an annulment, to which he signs Earle's name. All records of the marriage are then destroyed and Earle is led to believe that his wife has perished in a factory fire. Meanwhile, Annie goes to the city looking for her husband and there her child is born. While in the hospital, she reads an announcement of the wedding of Earle and Ethel. Obtaining employment in a film studio, Annie soon soars to stardom. When Mexican investments result in financial disaster for the Courtneys, Annie takes over the mortgage on their estate and produces a picture based on the story of her betrayal. When Earle views it, he learns of his father's treachery and the major, overcome with remorse, begs Annie's forgiveness. Nothing can undo Earle's unhappy marriage, though, until Ethel elopes with artist Paul Roubais, thus removing all obstacles in the path of Annie and Earle's reconciliation.

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 Sowers and Reapers 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

Jim Lassells travels to Africa to obtain proof that his cousin Harold Brooks is dead as rumored, and learns that an Algerian sultan killed the rich American. Since it is assumed that Brooks was childless, Jim inherits his cousin's fortune. At a slave market he buys a young girl named Perdita and sends her to a convent in Corsica to be educated. Years later, Jim meets Perdita again while traveling through Corsica with the impecunious Duchess of Westgate and her daughter, Lady Lilah Grey. When the party stops at an inn, Jim discovers that Perdita is not only a Persian princess, but also the long-lost daughter of Brooks, and therefore the rightful heir to Brooks' fortune. Perdita, who has fallen in love with Jim, engages the romantic Count Theodore de Seramo to abduct the duchess and her daughter, and later the count and Lady Lilah become engaged. Jim offers to turn over his wealth to Perdita, but she declares her love for him and they wed.

Dir: George D. Baker

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

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

Young attorney John Norton is in love with Broadway star Mona Mainard. Mona's young brother Tommy has served a term in Sing Sing. When he is released, he comes at once to his sister and tells her he is going away to begin life anew. She urges him to remain, but he refuses, and she gives him money for his railroad fare. He knows of her love for Norton, who has now been made assistant district attorney, in recognition of his ability, and does not want to stand in her way. Mona leaves the stage and marries Norton. Boss politician Ryan is in love with adventuress Pearl Le Claire. He has installed her in a handsome apartment in the Arcadia, the leading hotel, where he guards her jealously. Norton wins case after case. Mona realizes that less-clever lawyers are no match for him, and knows that based on circumstantial evidence, he secures many convictions of innocent persons. District attorney Daniels becomes ill and Norton succeeds to his position. He convicts on circumstantial evidence an old man who obviously could not have committed the crime and is not guilty. As sentence is pronounced, the old man dies on the witness stand. Mona, in the gallery, is amazed at the injustice of it, and writes to a newspaper a scathing denunciation of the case under an assumed name. The breach widens between husband and wife. Mona pleads with Norton to change his tactics, but he knows that his record has made him a favorite with the public, and that he is in line for the governorship of the state. Tommy has secured work as bell-boy in the Arcadia Hotel. In a jealous rage Ryan kills Pearl Le Claire, but the evidence points directly to Tommy. The boy gives the name of John Smith, not wishing to bring disgrace upon his sister, and is taken to the Tombs. Mona sees his picture in the newspaper. She rushes to him. He insists that he did not commit the murder, and convinces her of his innocence. She goes to her husband and begs him to give up this case, but he tells her that Ryan will make him governor of the state if he wins it. She confesses that Tommy is her brother, but even that does not influence him. Norton has a laboratory adjacent to his library. where he experiments with poisons and chemicals in preparing for his cases. Among his bottles is one containing a harmless sedative. Mona changes the labels on some of the bottles. That night, while her husband is working with his stenographer in the library, Mona feigns hysteria. Norton rushes to the laboratory, snatches up the bottle which he supposes contains the sedative, and gives her some of the contents. Mona now simulates an agony of pain. Servants and policemen rush in, and she accuses her husband of having poisoned her. He swears that he did not, but all the evidence is against him. Circumstantial evidence proves that he has attempted to kill her. He begs her to forgive his hard-heartedness; he promises to do anything in the world for her if she will only live. Obtaining his promise not to prosecute her brother, Mona sits up, smiles, and makes him admit that circumstantial evidence may be wrong; also, that she is the best little actress in the world. Tommy is released, and as Ryan confesses, the real culprit is brought to justice without the aid of circumstantial evidence.

Dir: George D. Baker

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.