Essential Cult Cinema Drawn from the Same DNA as The Man Who Dared:...

Dir: Maurice Elvey

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

Dir: Emmett J. Flynn

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

An abused wife is cast out into the street by her uncaring husband. Rescued by a gang of down-and-out patrons of the "End of the Trail" mission, Dawn soon falls for a dapper mission benefactor who is also a high-end burglar.

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: Robert N. Bradbury

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

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.

Dir: Dallas M. Fitzgerald

Confidence artist Flossie Golden attempts to fleece foolish but wealthy James Venable with a breach-of-promise suit. Venable's shrewd attorney, Richard Harding, outwits Flossie by proposing that she marry Venable and live on an allowance of $3,000 per year. Flossie is determined to get even with Harding for ruining her plans. In an attempt to con him, she poses as Innocence Page, but falls in love and marries him instead. Larry, Flossie's former accomplice, endeavors to blackmail her with her errant past, but Harding is already cognizant of the facts and Larry fails.

Dir: Edward LeSaint

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

When famous opera singer Elinore Duane undergoes an operation on her throat, she has a series of ether-induced visions. In one, she is transported to ancient Rome where she appears as a much-admired woman in love with Paul, a young heretic, and at odds with Lutor, the high priest. To save her love, she poisons Lutor with her ring. After several other visions which involve variations on this love triangle, Elinore awakens to discover that Lutor is actually her doctor, Sascha Jaccard, and that Paul is the son of a friend who has come to visit the recovering prima donna.

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: Emmett J. Flynn

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

When Mary O'Rourke leaves Ireland to visit her cousin Norah in New York, she finds that Norah and her baby have been deserted by her husband, John Stuyvesant. Mary goes to the Stuyvesants' aristocratic home, where Mrs. Stuyvesant, an invalid, mistakes her for her son's wife. Warned that the woman could die from shock, Mary reluctantly assumes the role of daughter-in-law and nurses her back to health. Meanwhile, John and his cousin Fred return from a trip, and Genevieve Harbison, John's fiancée, demands that they get married the following day to prove that he is not married already. At the church, Mary produces Norah's marriage certificate, which John notices is for "John Frederick," Fred's real name. Fred then explains that his inheritance requires that he not be married until the next day. Genevieve angrily leaves after John agrees to play Fred's role, but when Fred sees Norah, he acknowledges the marriage. Mary then confuses Fred's trustee with Irish blarney and wins the legacy for Fred. She then accepts John's proposal.

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.

Dir: Emmett J. Flynn

Mrs. Bernice Bristol Flint threatens to destroy the reputation of an innocent woman unless her wealthy husband John grants her a divorce, and although John has not betrayed his wife, he agrees to give her a large sum in alimony in order to maintain her silence. Bernice hopes to marry millionaire Howard Turner, with whom she has been carrying on a flirtation, and when he confesses that he does not love her, she angrily resolves to ruin him. Howard falls in love with the refreshingly innocent Marjorie Lansing, who agrees to become his wife. Because of Bernice's interference, however, their marriage is a stormy one, and finally Bernice and her unscrupulous lawyer, Elijah Stone, suggest that Marjorie sue for divorce. She refuses, and later, Howard's attorney, William Jackson, discovers Bernice's schemes and succeeds in reuniting Howard and Marjorie. Defeated, Bernice shoots herself.