Rare Cinematic Gems Sharing the Atmosphere of The Lion's Den: Cult Guide

Dir: George D. Baker

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

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

Gordon Allen works hard to support his wife Dorothy, but she becomes bored with Gordon and her marriage. She takes a trip with her friend Evelyn to a farm for a vacation, and there meets and flirts with handsome but native farmer Jed. She thinks nothing of it, but Jed takes it very seriously, and his sister Mary tries to break up the relationship. When Gordon pays a surprise visit to the farm to see Dorothy and she greets him warmly and kisses him, Jed realizes that he's been played, and after Gordon beats him in a fight, Jed kills himself. Mary, outraged, vows vengeance on Dorothy.

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 The Lifted Veil 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 Revelation perfectly mirrors the editorial trajectory of our deep dive.

Ira Wilton and his son-in-law Harry Bennett resort to the subterfuge of telling their wives that they are members of the Thirteenth Regiment, to be sure of having a night off each week, Friday night, for the regiment drills. They substantiate their deception by bringing into their little game Ira's daughter Laura and her fiancé Jack Brent, a genuine member of the Thirteenth. Their deception runs along nicely until one Friday night when the men have gone to the club, their wives find the invitation, and are just about to start out when they discover that the water pipe has burst. Laura informs the men by telephone what is discovered, and warns them to hurry home. They arrive and find that the kitchen and dining room are flooded, and, after all has been given a good soaking, Lord Dudley, an admirer of Laura, manages to stop the flow of water. Just as the trouble concerning the flood has subsided, Jack Brent arrives home and tells the men that the Thirteenth has been ordered to the front. The husbands, seeing a good chance to take a little vacation, purchase soldiers' clothing and fall in behind the Thirteenth Regiment as it passes their wives, but slip out as soon as it is out of sight. They then go to the barn, where they substitute their soldiers' habiliments for civilian clothes and then make all possible haste to the lake, where they intend to spend a little vacation. But their vacation is short-lived, for one day they see in the newspapers that the entire Thirteenth regiment has been wiped out. They hurry home to the old barn, where they get into their regimentals as quickly as possible--not forgetting to add a few rents here and there, to make it appear as if they have had a terrible struggle at the front and in escaping. When they arrive home they observe that Mrs. Wilton's brother has returned from the West and promised to take care of the "widows." In reply to Lena's (the fat cook), question concerning her lover Conrad, they were just about to tell her that he died with her name on his lips, when in come Harry and Conrad with the news that the newspaper report was all wrong. Ira and Harry fix it up with Conrad, and Jack, desiring to keep on the right side of the old man, tells the women that the men had a terrible fight, and brother Tom forgets about asking questions when a couple of good cigars are shoved into his mitt.

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

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

William Baldwin, ruined in business by his partner John Blaisdell, implores Blaisdell's aid and receives in answer a five-dollar bill inscribed with "Spend this for a gun and use it on herself." Hopelessly, Baldwin and his daughter Nan go to the Yujon, where the father dies and Nan earns a living in a rough dance hall where as "Nightingale Nan" she is the miners' idol. When she discovers that the little claim on Bear Creek, the only thing her father has left her, is worthless, at first she collapses; then she becomes defiant and tells the miners who have been forcing their attentions upon her that they may have her, the lucky man to be the winner in a card-game, she to take the money won in the game and go away to seek fame and fortune. A bearded stranger wins the game with a pair of deuces and pays her $1,000 a card, and she leaves with him for her cabin. Once there, however, she repents her rash bargain, and implores him to release her, offering the money in return. He makes her sign an I.O.U. for herself, promising to pay the debt at any future time that he sees fit. "You'll win success," the stranger tells her, "but in the hour of your greatest triumph I shall claim you, and you must return." She leaves on this condition. Nan's voice wins success for her all over the world. Five years later, as Mlle. Nanon Boldini, she is the reigning operatic queen at La Scala, Milan, then comes to the Metropolitan Opera House, New York, to make her American debut in "Lucia di Lammermoor." Her success is instantaneous. Two of the most important patrons of the opera house, business rivals John Blaisdell and James Van Brunt, are united in their admiration of Mlle. Boldini, and obtain an introduction. When Nan discovers the identity of Blaisdell, the man who ruined her father, she quietly plans his downfall. She encourages his attention, even at the risk of displeasing a young stranger with whom she has fallen in love. She refuses an offer of marriage from the man who won her heart, telling him of her promise made under amazing conditions to a man in Alaska five years ago. That promise, she tells him, must be fulfilled, no matter how great the sacrifice she makes in doing so. Inviting Blaisdell to her apartment to dinner, she has a telephone connection so arranged that James Van Brunt, at his downtown office with the receiver at his ear, hears Blaisdell's answers to the carefully prepared questions Nan asks, betraying all his business secrets. As Blaisdell falls across the table in a drunken stupor, after having told everything, Nan's triumph is complete. It is at this moment that two fateful cards, the deuces with which the Alaskan won his game, are thrust under the door, and Nan falls fainting. The next day she prepares for her journey to the Northland, ready to pay the price of her five years' freedom. The man she loves insists on accompanying her. Going to her little cabin, she finds it sumptuously furnished. As she turns to her lover in surprise, he places on the table a crumpled "I.O.U." then tears it in two, giving her the pieces. As the realization slowly dawns on Nan that the man she has learned to love is the bearded stranger of so long ago, she fits the two pieces of the "I.O.U." back together, presents them to him, and creeps into the arms of her stranger-lover.

Dir: George D. Baker

A fascinating piece of cinema that shares thematic elements.

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.