The Definitive Watchlist For Devotees of The Crippled Hand: Cult Guide

Dir: David Kirkland

Georgiana Chadbourne is married to a good but dull man. When he dies, she decides to find a more exciting romance, one with a "bad" man. But a case of mistaken identity upsets her plans.

Dir: David Kirkland

Fred Saunders rides into a wild town and aids the minister in recovering money stolen from the collection plate, thereby winning the love of the minister's daughter, June. Fred prevents Buddy, an orphan boy, from being trampled by a runaway horse and later "kidnaps" Buddy from an orphanage. Carney and his gang kidnap the boy in earnest, and Fred rescues him. Buddy turns out to be June's long-lost brother, and Fred and June are married by her father.

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

Dir: David Kirkland

Dad Randall is forced to mortgage his cattle to pay a debt to Ivor Johnson, who has bought them after stealing the receipts for the money Randall actually has paid. His son, Dean, returns home from action in the trenches and saves John Stickley, his daughter Grace, and a child from the grasping tactics of Texas Pete, a Johnson hireling who is charging for use of the waterhole. Meanwhile, Dad Randall is being forced to sign over the ranch, but Dean arrives and disposes of the villains just before Dad's death. When Johnson's cattle are rustled, Dean goes to work for him to track down the rustlers; returning the stolen cattle, Dean is tricked by Johnson, but with the aid of Grace and his horse, Silver King, he escapes. By a pulley stunt, Dean leads his pursuers into the sheriff's trap, and following a final showdown with Johnson, Dean and Grace are united.

Dir: David Kirkland

Robert Bennett, an idle socialite, wagers $30,000 with his three friends that he can tell nothing but the truth for a period of one week. His troubles begin at a party where his friends' wives question Robert about their husbands' outside activities. Forced to tell the truth, Robert's veracity results in domestic disharmony. Consequently, his vengeful trio of friends pursue Robert for the next five days, intent upon silencing him until the week is over. They finally resort to committing Robert to an insane asylum where he escapes with the aid of Dolly, who is in love with him because she believes that Robert is a society thief. When the real burglar arrives, he tries to frame Robert for his crimes, but Robert is cleared as the week ends and claims both his wager and his sweetheart, Gwendolyn Gerald.

A visual fragment from the archive: The thematic resonance of The Two-Gun Man perfectly mirrors the editorial trajectory of our deep dive.

Dir: David Kirkland

The title reflects what happens after unwanted pregnancy. Poster for the movie reads "Nothing like it ever before. See natural birth, an abortion, a blood transfusion, a real cesarean operation. If you faint easily, don't come in. Trained nurses at each show etc." I have not seen the movie, but it was mentioned in the book "Train Dreams" by Denis Johnson.

Dir: David Kirkland

Roaming cowboy Bart Andrews is arrested for vagrancy by a sheriff who needs men for the state road gang. On the way to jail, the sheriff stops off at a rodeo, allowing Bart the chance to ride a wild bronc. Bart tames the horse, and, at the urging of some cowboys, the sheriff allows Bart to go to work on the Lawrence ranch. Bart falls in love with Jean Dawson, the ranch manager's daughter, and prevents the theft of a trainload of cattle. Later, Bart surprises the foreman in the act of robbing the safe at the express office; the men fight, the station agent is killed, and Bart is accused of the crime. He frees himself, brings the foreman to justice, and reveals himself to be the real owner of the Lawrence ranch.

A visual fragment from the archive: The thematic resonance of Nothing But the Truth perfectly mirrors the editorial trajectory of our deep dive.

Dir: David Kirkland

This film and "Flying Lariats,1931" were filmed in a week on location in Sonora, California (interiors shot at Universal) with the exact same cast in both films. Both were produced (for Big 4) by a company named Hooper-Connell Corp.,Ltd, which was cameraman R.B. Hooper and brothers Robert and Charles T. Connell. Hooper shot both films, David Kirkland wrote and directed both and Charles T. Connell edited both, minus a credit line. Common mistakes regarding both films is that an elder actor named Joe Lawliss was in both (and billed as such) but some source has evidently decided Joe Lawliss didn't know how to spell his own name and has incorrectly changed it to Joe Lawless. Some source also thinks that the Don Wilson credited in both films is the same Don Wilson that was the announcer on the Jack Benny radio and television programs. He ain't. Etta Delmas is in both films (same cast in both) but some source has decided that her role in "Flying Lariats" was played by an actress that doesn't exist named Etta Dalsing. Well, she didn't exist until said source created her. The plot of "Riders of the Cactus" must have taken four of the seven shooting days as it is more involved than the one in "Flying Lariats." This one revolves around an old Latin parchment which holds the secret to the location of a buried Spanish treasure. American tourist Josie Casey and her Aunt Sarah come into possession of the document, but transposing Latin is neither's strong suit, which need not be meant to imply that acting was. But Jake McKeever/Jake Wenzel does and intends to acquire it. He has his wife Pearl (Tete Brady), bar girl wearing a one-piece bathing suit or corset or something but making whatever it is look really good, distract Border Patrolman Bob Bronson while Jake gets the document from the Caseys. Jake and his gang head for the Sonoran desert. They are followed by a prospector leading a blanket-covered mule train. Jake and his men are a little miffed when Border Patrolmen and Mexican Rurales come out from under the blankets. There were several of these Hopper-McConnell westerns shot over a short period of time, and a few of them appear like they mixed up some reels in the editing process, as character names and situations sometimes change in a New York minute. But that doesn't account for the Joe Lawless/Etta Delsing/Don Wilson errors. Those have been created in the past few years.

Dir: David Kirkland

When Mary Blake applies for the position of personal secretary to misogynist James Stanhope, she is judged too attractive to accomplish the job. Mary returns home, makes herself unattractive and is promptly hired. Stanhope is assisting the government in the arrest of Bolshevists, and one night three revolutionaries enter the house, bind and gag Stanhope and put a time bomb under his chair. Discarding her unattractive disguise, Mary vamps the three into submission, clouts each on the head with a brass statue and saves her boss's life. Mary's resourcefulness forces Stanhope to give up his disdain for pretty women, and he proposes to his attractive secretary.

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

Dir: David Kirkland

A fascinating piece of cinema that shares thematic elements.

Dir: David Kirkland

A fascinating piece of cinema that shares thematic elements.