Visionary Picks Drawn from the Same DNA as The Flag: A Story Inspir...

Dir: Harley Knoles

Jim McDonald, the foreman of a shipbuilding plant and head of the labor union, strives to combat the anarchistic propaganda being put forth by Klimoff, the leader of a Bolshevik gang whose goal is to disrupt the country with strikes and anarchy. Despite McDonald's efforts, a strike is called, resulting in chaos. McDonald's child is knocked down by runaway horses abandoned by their striking driver, and dies. Mob scenes take place in America, as well as in Russia. Eventually, the unrest is quelled with an armistice called between Capital and Labor for a year, during which time wages are to be increased to reflect the cost of living, and leaders are to work out a common plan for their mutual advantage. The strikers now realize that they have been pawns of the Bolsheviks and call off the strike, agreeing to the plan.

Dir: Maurice Elvey

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

A lady marries a horse trainer but withholds herself until her crippled brother is cured.

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.

Dir: Arthur Maude

A visual fragment from the archive: The thematic resonance of Eva, wo bist du? perfectly mirrors the editorial trajectory of our deep dive.

Magda, the daughter of Colonel Schwartz, a retired army officer, runs away from her home in Germany, and goes to Paris, hoping to gain fame as an opera singer. Her leave taking breaks her father's heart and brings on a stroke of paralysis, which almost results in his death. After months of careful nursing, he partially recovers, and thereafter, forbids even the mention of Magda's name in his presence. In Paris the years pass, and Magda failing to realize her ambitions, is reduced to abject poverty, and finally, rather than sell her honor, becomes a common beggar of the streets. Then, one day, penniless and starving, she enters a Bohemian café, in the Latin Quartier and sings for the price of a meal. Here she is seen and recognized by an old friend of her childhood days, Karl Von Kellar, who has come to Paris to study law. Learning the pathetic story of Magda's struggles and failure, he takes her to his apartment, and in the course of events she becomes his mistress. After months of happiness, Von Kellar begins to tire of Magda, and then, one day, he is called back to Germany by the death of his father. A few months later, Magda's child is born, but pride prevents her from communicating the fact to Von Kellar, who has apparently forgotten her. Again reduced to poverty, and cast out upon the streets by a heartless landlord, she wanders up and down the highways, singing, her baby clutched to her breast. Later, to save her child from starvation, and with the promise of attaining the goal of her life's ambition, a musical career, she becomes the mistress of Antony D'Arcy, a rising young operatic manager. Years pass, and Magda, now a famous opera singer, known as Maddalina Dall Orto, arrives at the principal hotel in her home city, to attend a big musical festival. At the governor's ball that night, which she attends, as the guest of honor, she is instantly recognized by Von Kellar, who is now a dignified and eminently respectable counselor of state. Meanwhile Colonel Schwartz, learning that the distinguished guest of the governor's is Magda his daughter, is prevailed upon to forgive her, and take her back. With her numerous servants and pets, Magda takes up her quarters in the old home, and bedazzles her bumble family with the wealth of her jewels and the magnificence of her wardrobe. At a loss to understand how she has attained so much good fortune and fame, her father becomes suspicious, and questions her persistently regarding her past life in Paris. Then Von Kellar pays a call, and learns for the first time of his child, now a youngster of seven, attending a private academy in Paris. Magda denounces Von Kellar. When Von Kellar has departed, Magda's father, who has overheard enough to confirm his suspicions confronts Magda and brutally forces a confession from her. In a towering rage, he writes Von Kellar a note, threatening to kill him, unless he consents to an immediate marriage with Magda. Fearing public exposure, and realizing that Magda's position in the world of art, will lend a certain dignity to his political prestige. Von Kellar calls on Colonel Schwartz and heartily agrees to an immediate marriage with his daughter. Alone with Magda, however, Von Kellar refuses to make her his wife, unless she agrees to keep all knowledge of their child a secret from the world. In a burst of outraged pride, she is furiously denouncing him, when her father enters, and learning what has passed between them, promises Von Kellar that he will force Magda to marry him as she is no longer in a position to choose the conditions under which she will become the honorable wife of her child's father. After Kellar has left, Colonel Schwartz locks all the doors, and arming himself with a revolver, threatens to kill both Magda and himself unless she consents to marry Von Kellar at once. She refuses to abandon her child, and as her father slowly raises the pistol to her heart, he is seized with a stroke of paralysis and falls back dead. Flinging herself upon her knees by her father's dead body, Magda sobs out her misery and grief, as the story concludes.

Dir: Wilfred Lucas

Brian O'Farrell (Snowy Baker), is an English 'new chum' who takes a job at an Australian cattle station. He is teased by station hands because of his appearance (including spats and a monocle) but he soon impresses them with his skills at riding and boxing. The station manager, John MacDonald (Wilfred Lucas), takes O'Farrell to Sydney to meet his daughter Edith (Kathleen Key) who is working in the slums. Edith is kidnapped by criminals after witnessing a crime but O'Farrell rescues her. It is later revealed he is the owner of the station.

Dir: Edgar Jones

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

A mail-order bride arrives at a Maine lumber camp but doesn't like her prospective husband.

Dir: Arthur Maude

Judson Brand, a powder manufacturer, is approached by the envoys of two warring nations, but before entering into a contract with Baron Von Halstyn, envoy for Gravonia, he sends his son, Marshall, to investigate the country's financial condition. Burghoff, Sashofen's envoy, is advised of a blockade and instructed to halt shipments of munitions to the enemy. Both envoys try to enlist the help of Jan Bernheim, a clever political exile from Gravonia. Out of revenge, she promises to aid Burghoff, but patriotism prevails and she goes over to Von Halstyn, although pretending to remain in the employ of Burghoff. Elinor, Brand's daughter, is engaged to Fosdick, a humanitarian propagandist, who opposes Brand's mercenary attitude in furnishing munitions. Burghoff allies himself with Fosdick, and together they hope to control the vote of the congressional committee against furnishing munitions. The committee is divided in opinion and the deciding vote is with Hayes, the chairman who favors the non-participating policy. Brand quarrels with Fosdick about the issue and forces Elinor, in sympathy with Fosdick, to break her engagement, when Fosdick refuses to renounce his principle. Jan induces Burghoff to give Fosdick a check for a thousand dollars "for charitable purposes." Jan secures the canceled check which the unsuspecting Fosdick has accepted, for evidence against him, and when Von Halstyn urges her to win over Hayes to their side, she does so by showing him the check, which she makes him believe was accepted as a bribe from Burghoff. Burghoff refuses to accept defeat and proposes to Fosdick the blowing up of the powder mills, but Fosdick refuses to listen, so Burghoff undertakes it alone unknown even to Jan. Brand's son, traveling through the war zone, finds their Brandite shells being used by both sides, and is so absorbed in commercialism that he is untouched by the evidence of suffering about him. Fosdick saves the life of a child belonging to one o£ the men employed by Burghoff to blow up the mills. Brand receives a favorable report from his son and he and Von Halstyn ride over to the mill to sign up the contract, accompanied by Elinor and Jan. Fosdick, in Burghoff's office waiting for him, answers the telephone and learns of the plot to destroy the mills within an hour. He tries to reach Brand only to find that he and Elinor have gone to the mill. Fosdick drives to the mills, and through his efforts the plan only partially succeeds; no one is hurt but Mason, the man who was on the job. Fosdick is found trying to put out the fuse and is accused by Brand of attempting to blow up the mill. Mason, however, clears him when he recovers and Von Halstyn and Jan are arrested by a secret service man who has been trailing them. Brand stubbornly insists that Fosdick is to blame for it all and vows he will sign the contract away. Then the final argument presents itself, his beloved son has been killed by a Brandite shell. Later Von Halstyn and Jan are deported. Burghoff flees the country and Fosdick and Elinor are united. Brand turns from the manufacture of ammunition to Red Cross work.

Dir: Charles Horan

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

While working as a flower girl in Devlin Maddox's nightclub, Nellie Vaughan meets wealthy young Pelton Van Teel and falls in love. Maddox, desirous of using Nellie to blackmail Van Teel, spreads a rumor that she is his mistress. This makes Nellie uncomfortable, and she demands that Van Teel marry her immediately, to which he agrees. Meanwhile, Van Teel has been losing money gambling to Maddox, who threatens to break up the marriage by producing a worthless check that the young husband has written. Venturing to Maddox's apartment for a showdown, Nellie pulls a gun and demands the check, accidentally shooting Maddox when he throws a lamp at her. Maddox plans to charge Nellie with assault, but when the police arrive, his butler, actually a detective employed by the elder Van Teel, exposes Maddox, who is then arrested, clearing the path for the couple's happiness.

Dir: William Parke

Bruce Wendell, the son of West Virginia coal mine owner James Wendell, graduates from West Point and prepares to lead a fighting unit to the front during World War I. As his father lies dying, however, he convinces Bruce to remain at home and guard the mine. Bruce's fiancée Ann Blair assumes that he is a coward and breaks off their engagement, but her brother Bobbie remains Bruce's loyal friend. Meyer, a German agent, persuades railroad president Parrish to refuse to transport Wendell's coal, but when Bruce adamantly refuses to close the mine, the spy's men decide to blow it up. While Ann is being abducted by Meyer, Bobbie is buried in an explosion at the mine. Bruce rescues Bobbie and then sends a plea to Lieutenant Parrish to rescue Ann. Meyer and his gang are captured and Ann renews her vow of love to Bruce.

Dir: Robert N. Bradbury

A simple country girl, brutally mistreated by her stepfather, awakens first the sympathy, then the love, of The Boy. The Spider, who lusts after The Girl, makes a bargain with the stepfather and takes her to the city where, kept prisoner, she is soon broken in health and spirit. Cast out and near death, she is taken in by The Boy. Following the demise of The Spider, The Boy takes her to church, where he prays, and after many hours she is restored to health.