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Dir: Albert Capellani

The mechanic Etienne Lantier is a competent workman out of a job, whose tempestuous disposition is more than atoned for by a good heart. With bundle in hand he looks for work from town to town and in vain until he comes to the coal mines of Montsou. Luckily for him there is a vacancy because of a workman being absent, and the foreman, Maheu, hires him at the suggestion of his daughter, Catherine, who dressed as a man is wont to work like a man in the mine. Lantier creates an impression on her and she takes his part much to the chagrin of her accepted lover, Chaval, an unworthy and violent man. Lantier fails to recognize her as a woman until after sharing her lunch with him in the depths of the mine, her hair falls from under her miner's headgear. From that moment he devotes his whole heart to her. At the end of the day's labor Lantier, who has excited a fierce jealousy in Chaval, is invited by Maheu to become a boarder at his house and he joyfully accepts. The engineer, Negrel, making his daily descent into the mine finds the shoring timbers holding up the earth in a bad state and ready to fall. He makes a report recommending that the woodwork he immediately and properly repaired so as to avoid accident. The company, however, posts a notice saying that because the woodwork has to be repaired the price received by the miners per car of coal mined will be decreased. This arbitrary and unfair notice causes much discontent and anger among the miners. A mass meeting is called for at the Cabaret Rasseneur; Souvarine, an anarchistic workman, advocates violent measures. Lantier opposes this and suggests concerted action. The anger of the workmen breaks out afresh when they begin to receive their reduced wages and urged on by Lantier, whose influence is growing, they vote to strike. In the meantime Catherine, though in love with Lantier, dares not go back on her word to Chaval and marries him. Chaval treacherously carries full information of the strike proceedings to Mr. Hennebeau, the chief director of the company, and accepts pay for being a spy. The strike is now on amid general enthusiasm. In the meantime, Negrel, the engineer, who is in love with Hennebeau's daughter, pleads with Hennebeau to answer the miners' requests. Miss Hennebeau also pleads with her father, but in vain. The stores refuse to extend credit to the striking workmen and famine soon stalks among them. Lantier discovers to his surprise that Chaval is an exception and that he has plenty of food and money. As yet he has not discovered that Chaval is the paid spy of the company. Catherine brings secretly to her starving relative food and money. Chaval follows her, drives her from the house and strikes her. Lantier seeing it interferes in her behalf, and being attacked by Chaval thoroughly thrashes him. Chaval, taking advantage of the growing misery among the miners, urges some of them back to work. While they are in the mines the other strikers cut the elevator ropes. There is a panic in the mine depths. The imprisoned miners finally escape by ladders, but have to run the gauntlet of the enraged strikers, who still hold out. When Chaval is dragged from the mine Lantier rashes at him, but Catherine steps in between and prevents harm being done to her husband. Blinded by hatred Chaval goes to Hennebeau and denounces the miners' leaders, especially Lantier. The police are called upon to arrest him, but warned in time he escapes to the abandoned shaft of Voroux. The strike becomes violent and the troops are called in to reinforce the police. In the absence of Lantier, Souvarine is called in to head the strikers. Hennebeau's house is attacked and stoned. Seeing the soldiers preparing to fire on the mob, the director's daughter rushes from the house to try and avert the coming calamity. She is caught in the storm of bullets and dies together with many of the miners and their wives, among them Catherine's father. This crushes the strikers' movement and instigated by Chaval they vote to resume work. Lantier, emerged from his refuge, tries in vain to dissuade them, but his influence is gone and bowing to the majority he also goes back to work. Souvarine, alone implacable, determines upon desperate measures. He releases the bolts binding the barriers that hold back water from flooding the mine and the flood breaks loose. He is drowned in the cataclysm that follows. The miners, caught like rats in a trap, run madly hither and thither. Some escape, others, among them Lantier, Catherine and Chaval, are caught. These latter three find themselves imprisoned in an abandoned working pit, where they sit in despair with the water up to their knees. They have little food and when after long hours Catherine attempts to give a little of her lunch to Lantier. Chaval furiously opposes. Chaval finally attempts to deprive his wife by force of her morsel of food. In righteous rage Lantier strikes him and kills him. His dead body, floating on the water, haunts them. Forgetting their animosities, directors and workmen unite in the work of rescue. Through an abandoned pit they come near to Catherine and Lantier. Their signals being answered by the prisoners they redouble their exertions. By imprudence, however, an explosion takes place, which kills many of the rescuers and sets back the work. Among those killed is Catherine's brother. When the workers finally pierce the intervening walls they find only Lantier alive, for Catherine lies dead in his arms. When the unconscious man is brought into the daylight and at last opens his eyes it is the bereaved Negrel who, with a heart of sympathy, comforts him in his grief when he sees the body of his dead sweetheart. Broken in spirit he sees injustice rule and the poor pay the piper.

Dir: Albert Capellani

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

Marguerite Gautier, known as "Camille" on account of her fondness for camellias, is queen of the underworld. She has a wealthy lover in Count de Varville, whom, though he supplies her with plenty of money, she does not love in return. Her affections are set upon Armand, a young lawyer from the country. She suffers from her excesses, and the doctor warns her that she must change her mode of living, but she laughs at his advice. Armand's love for her renews her interest in life, and she goes with him and lives quietly in the country. But their happiness is short. Camille has had to sell her jewelry and horses in order to pay her debts, and, learning of this, Armand becomes suspicious. Armand's father, hearing of his son's attachment for Camille, demands that the woman should abandon Armand. For the sake of Armand's young sister, Cecile, Camille agrees to sacrifice herself and returns to her former life with Count de Varville. But Armand's love for Camille will not be suppressed. They meet again. He begs Camille to go away with him. She refuses. Armand accuses her of loving de Varville. The two men meet and quarrel. There is a duel, and Armand wounds de Varville. Armand learns that Camille always loved him and that her aim was to please the father by preserving Armand's family's good name. In the end Camille dies with a smile on her lips and expressing her love for Armand.

Dir: Albert Capellani

Aurora Fernandez, a poor Cuban girl, is persuaded against her will to become betrothed to Don Armada, a wealthy Cuban. She loves Pedro, a young fisherman, who lives with his uncle, Father Venture, and his sister Celida, who has been secretly stealing to Don Armada's villa, but is cast off by him on his engagement to Aurora. Longing for a sight of Pedro, disguised as a dancing girl, Aurora goes to an inn where Pedro comes with other fishermen for a nights revelry. He does not recognize her as his "Lady of the Lily" as he calls her, but falls a victim to the charms of the dancing girl. Celida, dying of a broken heart, confesses to Pedro and Father Venture, and Pedro, to avenge Celida, summons all the fishermen in the village and leads them against Armada in whose villa the wedding feast is being held. The guests fly in terror and Armada is wounded. Aurora alone remains undaunted, and Pedro, finding her, recognizes not only his love of the tavern, but Aurora, and that she is the wife of Armada. Notwithstanding her pleadings not to kill her husband, he is about to strike when he sees that Don Armada is blind. This awakens his pity and he leaves the house. Don Armada has an operation performed on his eyes which proves successful, but the physicians warn him that any shock may result in blindness for life. Aurora, in the meantime, has been carrying on clandestine meetings with Pedro and Armada, hoping to find out who Aurora's lover is, tells her that the operation has been a failure. He intercepts a note from Pedro and, locking Aurora in her room, stabs Pedro. He then returns to Aurora and she discovers he has tricked her. He tells her what he has done, but the shock kills him. Aurora escapes and finds Pedro still alive. She takes him home where she watches over him; and the crisis over, the lovers are reunited.

Dir: Albert Capellani

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

A crook bungles his biggest job, and when the police are put on his trail, he becomes hopelessly lost and commits suicide.

Dir: Albert Capellani

Jean Valjean, guilty of a minor theft of food, is pursued and hounded for years by a relentless lawman, Javert.

Dir: Albert Capellani

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

Based on Robert W. Chambers' novel about New York CIty life among the upper crust: Artist/model and philosopher Valerie West undergoes much sorrow and joy,many trials and tribulations ,and final triumph on her journey to become the living personification of sweet, noble womanhood.

Dir: Albert Capellani

The Archduke Rodolphe d'Illyrie is secretly united to Countess Sarah Mac Gregor and they have a daughter together. The young woman learns that her father-in-law is potting to have the marriage annulled so she writes her brother to ask him to get rid of the old man. When her letter is intercepted, she leaves her child in the care of farmers near Paris and escapes to America. The Archduke finds the whereabouts of his daughter but he finds the house has been destroyed by a criminal fire and figures that she died. He sets out to find his daughter's murderers and meets the evil Schoolmaster and his friend la Chouette. They actually hide the child, that they call Fleur de Marie, and force her to beg for their profit.

Dir: Albert Capellani

A visual fragment from the archive: The thematic resonance of Les Misérables, Part 2: Fantine perfectly mirrors the editorial trajectory of our deep dive.

Laura Murdock is a young actress. Her husband, a drunkard, is killed by a fall. Laura goes to New York to get an engagement, and finds herself blocked at every turn by the petty jealousies and politics of the profession. Willard Brockton, a wealthy broker, has been asked to finance a production and has refused. He meets Laura and becomes interested, furnishes the producer with money, demanding in return that Laura be given the best role in the piece. Eventually Brockton claims the customary reward of such assistance, although Laura holds out as long as possible. The following summer she goes to Denver for a stock engagement, and falls in love with John Madison, a newspaper writer. He cannot afford to marry, and Brockton, who comes west to take Laura back with him, sneers at the idea of his marrying the luxury-loving Laura. Laura promises to wait, however, and Brockton promises Madison that if Laura returns to him he will let Madison know. Laura returns to New York, and Brockton's influence prevents her from getting an engagement. She reaches the end of her resources, and not hearing from Madison submits to what she regards the only course open, a renewal of her relations with Brockton. Brockton dictates a letter to Madison which Laura promises to mail, but she burns it instead. Madison finds gold and hurries to New York to marry Laura. He discovers the facts of the situation, and Laura confesses that she burned the letter Brockton had promised to send. Deserted by both men she becomes desperate, and tries to fling herself into the dissipations of the night life of Broadway. She is disgusted, however, and attempts to end her life in the river. She is rescued and taken to a hospital. Madison is notified, and learns also of the fight she made to remain true to him. He hurries to her side just in time to let her know he understands and forgives, and she dies in his arms.

Dir: Albert Capellani

When young schoolteacher Mary Adams is out of the classroom, she dreams of the days when the world was peopled by knights and beautiful ladies in distress. She is so imbued with the spirit of romance that when a strange young man rescues her from a street ruffian, she idolizes her hero, picturing him as a regular Sir Galahad. Mary's rescuer is Jim Anthony, a mechanic with inventive talents. Embittered after his invention is stolen, he becomes a burglar. Knowing nothing of this, Mary falls in love with him and marries him. He's a product of the slums, and in his wandering he has lost track of his mother. When he finally learns that she's living in the Carolina mountains, he persuades Mary to go with him to visit her. He takes with him a bag of jewelry, the plunder gained in his recent robberies. They find Anthony's mother living alone in a hut. The old woman has become a wretched creature. She fails to recognize her son, who asks for a night's shelter for himself and his wife. While unpacking, Mary discovers the jewelry and confronts Jim, who confesses his crime. Horrified, Mary orders Jim from the room, locks herself in, and goes to sleep on a couch in the main room. The old woman finds the jewels and her cupidity leads her to try to kill the man she doesn't know as her son. Mary finds Jim unconscious from his wound and hurries to the village for medical aid. She keeps away from him, and on his recovery he returns to the city and makes restitution of the stolen property. A reconciliation is brought about several years later.

Dir: Albert Capellani

Orphaned Mimi (Alice Brady) is taken in by a drunken innkeeper and becomes a maid. She meets Rudolphe (Paul Capellani), heir of a upper-class family, who rescues her from the unwanted advances of a drunken hotel guest. They fall madly in love, but Rudolphe's uncle, M. Durandin, wants Rudolphe to marry a family friend, Madame De Rouvre, and writes Mimi a letter, telling her that she is ruining Rudolphe's life. Musette and Marcel, friends of Mimi, also try to break up the romance by introducing Mimi to other men, and Rudolphe becomes jealous and leaves her. Shattered, Mimi declines in health and eventually throws herself into the river but is rescued and taken to the hospital. Realizing it is only a matter of time before she dies, she drags herself back to the room where she and Rudolphe were happiest. Rudolphe is there and she dies knowing that he loves her.