Editor's Top Picks Sharing the Atmosphere of The Cohens and Kellys:...

Dir: Hal Roach

An American book salesman (Lloyd) is persuaded to go to the kingdom of Thermosa to impersonate the Prince. He is greeted by a peasants' revolt before the real prince shows up to claim his throne and princess. The revolution succeeds, and the American is elected president of the new republic.

Dir: Harry A. Pollard

Peggy Brockman's idyllic life with her oil-magnate father is disrupted when he remarries and arrives home with his bride and her two snobbish daughters. The new Mrs. Brockman reads that Lord George Raleigh is anchored off shore in his yacht, and regarding him as a possible conquest for one of her daughters, issues him an invitation to a garden party. In quest of his seclusion, his Lordship sends his butler Wiggins to attend in his place. Peggy is banned from the party, and in revenge, sneaks aboard the yacht where she meets the real lord who is enchanted by her. For her prank, Peggy is banished to college and the lord enrolls also. One night by mistake, Peggy climbs into the boys' dormitory and finds herself in Raleigh's room. To prevent a scandal, they elope, but on the way from the justice's house are arrested and thrown in jail. Peggy's horrified family arrives just in time to witness Lord Raleigh disclose his true identity and announce that Peggy is his bride.

A visual fragment from the archive: The thematic resonance of The Girl Who Couldn't Grow Up perfectly mirrors the editorial trajectory of our deep dive.

Dir: Harry A. Pollard

Miss Jackie Holbrook is the daughter of wealthy Californians. She is noted for her frolicsome nature, and is the favored of all but Captain Robert Crowne, U.S.A., whose ship is anchored off Coronado awaiting further orders. Jackie decides to make Crowne fall in love with her, and her opportunity comes when she hears of a new sailor going to ship with Crowne to the Isle of Vergania, to quell a native uprising. The girl dons sailor clothes and sails with the ship. She is the butt of Big Bill Blount's jokes and jeers because of her effeminacy, and causes the others on board much laughter. When they arrive at Vergania she is one of those chosen to go into the interior and is the one that saves Crowne's life. Her identity is discovered to the delight of the sailors, and Crowne asks her to marry him immediately.

Dir: Charley Chase

A young married couple volunteer to take charge of several orphans after the asylum has burned down. Of course they find their hands full with their troublesome charges.

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

Dir: Harry A. Pollard

A fascinating piece of cinema that shares thematic elements.

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.

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

Dir: Harry A. Pollard

A naive débutante longs for a romantic adventure, and sets out to have one, scandalous or not. She rashly decides to burgle a random home, but is caught. At the jail, she's mistaken for a notorious con woman, and nervously is taken into a gang.

Dir: Harry A. Pollard

Motherless Phyllis Ladd runs the household of her father John, a railroad president, who loves her but dreads the day that she will marry and leave. To make her social debut, Phyllis leaves her hometown of Carthage and accepts the invitation of Mrs. Fenshaw, a Washington social matron, to live with her. Phyllis soon tires of the stuffy life and boring suitors and returns. At a matinee road-show performance, Phyllis becomes infatuated with actor Cyril Adair. When she invites him for tea, the vain actor accepts, hoping to seduce her. After more meetings, Cyril's discarded lover informs Ladd, who demands that the romance cease. Phyllis elopes with Cyril, who, touched by her devotion, marries her. Although their life is plagued by Cyril's alcoholism, firings and inability to get new roles because Ladd influences theater managers to reject him, Phyllis patiently tries to bring out the best in her husband. When Phyllis and Cyril refuse Ladd's bribes to end the marriage, Ladd relents, backs a show in which Cyril is to star and is reconciled with the couple.

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

Dir: Harry A. Pollard

A fascinating piece of cinema that shares thematic elements.

Dir: Harry A. Pollard

Messalla, the embodiment of youth and innocence, lives in an old house in Washington Square, New York City, with her father, who has been ruined financially and lost his wife through the lure of Fifth Avenue. He tells Messalla that the thoroughfare is a dragon lying in wait for victims. Messalla starts out to find the dragon and goes up the avenue. Her meetings with various people bring destruction and death to those who had wrought her father's ruin, although she is unconscious of the effect she is having on their lives. Messalla escapes the wiles of the white slaver. She allows a discarded flame of a big merchant to take her place at dinner to which she has been invited, and the merchant suffers at the hands of the discarded woman. A policeman's attention is attracted to Messalla and a man is killed by an automobile while he is looking at her. At a lacemaker's shop a wealthy young woman is tempted to take a bit of lace because Messalla has admired it, but she is caught and jailed. There is a robbery affecting some papers which have been taken and replaced by a bomb, and Messalla gives the package to a woman who turns out to be her father's lost wife; the house is destroyed after the woman and Messalla leave. There is a reconciliation. All those injured were people who had injured her father, and the dragon has been slain by Messalla's youth and innocence.