The Auteur's Selection In the Shadow of The Man Who Forgot: Cult Guide

Dir: Emile Chautard

The productions from Thanhouser's mature period, 1915-1917, clearly show the advancements that set the stage for the first cinematic golden age, the 1920s. Such advances are evident in this surviving shortened version of "Fires of Youth": detailed character development by veteran actor Frederick Warde (and in a smaller role, at least in the shortened version, by Jeanne Eagels), mature editing techniques, special lighting effects, intelligent story development, realistic use of locations, fluid dialogue inter-titles, complex staging and access to better cameras with the defeat of the Patents Trust. Acclaimed French stage and film director Emile Chautard was brought from Éclair studio in France to direct.

Dir: Emile Chautard

A fascinating piece of cinema that shares thematic elements.

A visual fragment from the archive: The thematic resonance of Le roman d'un caissier perfectly mirrors the editorial trajectory of our deep dive.

Dir: Emile Chautard

The story of Nathan Hale, an American soldier and spy from his days as a teacher to his eventual capture and execution.

Dir: Emile Chautard

A reminiscence of her act ten years ago, recalling how she had secretly married Jean Roussel, flashes through the mind of Mathilda, daughter of Professor Stangerson, when her father asks her to become the wife of Robert Darzac, and how their wedding certificate could not be filed as her husband was imprisoned for passing counterfeit money. But she soon dismisses the horror upon the thought that Roussel must have been dead (she never having heard from or of him) and at last consents to the announcement of her betrothal to Darzac. Roussel, however, was still alive and soon learns of the engagement of Mathilda. By a subterfuge he manages to get a note to her telling her that he still loves her and begging her to flee with him to America. Mathilda was too frightened to answer, so Roussel in a jealous rage goes to the residence of Mathilda and hides in the yellow room occupied by her. Mathilda, who had been out walking with her father and fiancé, returned and feeling tired goes direct to her room, where she comes face to face with Roussel, who cautions her not to utter a word of alarm. But Mathilda was very much afraid and screams. In order to stop her, Roussel chokes her into unconsciousness and leaves her for dead. That evening as she joins her father he notices that she is unusually pale and advises her to retire early. She does and no sooner had the household retired when a shot comes from the room of Mathilda. Upon investigation the father finds that his daughter is lying unconscious upon the floor with a deep gash in her head, but no trace of her assailant could be found for the doors and windows were all locked from the inside. Professor Stangerson places the solving of the mystery in the hands of Rouletabille, a noted detective, and inspector Larson, They are given adjoining rooms in the Stangerson castle, and in his work of unraveling the enigma, Rouletabille finds under the bed of Mathilda a hair and a bloody handkerchief. Then Mathilda receives another letter from Roussel, which makes her change her room. At midnight the detective hears sounds coming from the yellow room, and stations Larson and the professor at both ends of the gallery, but no one is found. Previously the detective had caught a glimpse of a bearded man and has come to the conclusion that he must be in the house. He is also surprised to learn that Larson's hair is the color of that which he had found in Mathilda's boudoir. Larson, who was none other than Roussel, sends Mathilda another note and fearing the surveillance of Rouletabille, he invites the detective to supper in his room. He drugs the wine which is drunk by the detective, and as the latter is examining Larson's hair he notices a bad wound in the inspector's hand and then falls unconscious. Rouletabille's assistant brings him around, and after forcing from Larson the marriage certificate deliberately gives him a chance to escape. Then the detective gives Mathilda the unrecorded marriage document, the destruction of which means her freedom to marry Darzac. The mystery of the yellow room was cleared by the detective's remarkable deduction which shows that the deep gash in the head of Mathilda had been caused by a vision of her assailant and she, in a subconscious state, had discharged the revolver in self-defense and in falling had landed against a table, and the ugly wound in Larson's hand had been done when she had her encounter with him in the yellow room.

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

Dir: Emile Chautard

With the $1,000 prize money that wharf rat Michael Regan wins boxing, he is able to purchase a saloon and a freight-handling concern and begin his rise to success. By persuading his men to work for half the standard rate, Regan gains control of grain-shipping contracts held by his rival, the once wealthy James Griswold, now on the verge of bankruptcy because of Regan. When Regan meets and falls in love with Emily Griswold, he offers to merge with Griswold for permission to court Emily. She marries Regan, but remains a wife in name only. When Griswold's son provokes a strike, Regan's friend, Porkey McCoy, hits the young Griswold with a brick as he makes a speech. Regan is arrested as an instigator, but McCoy's wife insists that her husband confess. In prison, Regan turns over his property to Emily and releases her from their marriage, but she has grown to love him and refuses. When he is released, they resume their marriage and become the godparents to McCoy's son.

Dir: Emile Chautard

Adventuress Stefanie Paoli forsakes her lover, humble fisherman Gabriel Barrato, for the arms of a nobleman, the Marquis de Mohrivart. Upon learning that Stefanie has wed another, Gabriel kills himself and his brother Benedetto swears revenge. Stefanie goes to France with the Marquis where they run an exclusive gambling club. Years pass and they have a son, Charles, who is sent to England for his education. Charles, ignorant of his parent's method of living, marries Rose Verney, the daughter of an upper class British family. Meanwhile, Benedetto has acquired wealth and visits the Mohrivart tables in Paris. Although enthralled with Stefanie's beauty, he attacks the woman on whom he has sworn revenge. In attempting to save his wife, the Marquis is killed. Benedetto is sentenced to life in prison, and soon after, Stefanie, learning that her son is dying, visits his family in England. After Charles death, she refuses to leave, threatening to invoke an old French law which would declare her granddaughter's birth illegitimate unless the Verney family supports her. Stefanie is prevented from victimizing her son's family when Sir Horace Welby, a former lover, falsely informs her that Benedetto has been freed and is seeking her life. Terrified, Stefanie disappears and leaves the Verneys in peace.

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

Dir: Emile Chautard

Father John is a rag-picker, well known at the Halles. A good man with many good qualities he has but one defect; he is fond of the bottle. He is intoxicated when he meets Garousse, a man ruined by gambling and reduced to the humble trade of a rag-picker. He will not listen to Father John's exhortations. As it happens, a collection clerk, Didier is returning from his round. Garousse does not recoil from murdering the man and makes off with the money. It is in vain that John tries to interfere; Garousse pushes him off, half strangles him and runs away. In front of Didier's body, John swears to keep away from drink forever, and takes home with him. Marie Didier, the grandchild of the victim. Fifteen years later. Father John lives a happy life with Marie, now a dressmaker. Garousse, by means of the stolen money, has become the Baron Hoffman. He has a daughter whom he wishes to wed to Henry Berville, his partner's son. Claire Hoffman has a child from some illicit love, and she has him brought up secretly. By chance, Henry Berville, while out for a walk, comes across Marie Didier, giving alms to poor women. Baron Hoffman is informed by a telegram that he is a ruined man. He informs his daughter of the disaster and she declares she will do all she can to save him. Unfortunately. Henry Berville does not love Claire. Baron Hoffman is soon satisfied as to the reason of his refusal when, on Marie Didier being introduced, he notices the tender intimacy that seems to exist between the two young people. He decides to see to it and to put Marie out of the way of Berville. Baron Hoffman secures the assistance of Mme. Patard, a midwife, and orders, in return for 10,000 francs, the disappearance of the child; but Mme. Patard prefers to hand over the child to Marie Didier, in whose kindness she has confidence. Marie not being at home, Mme. Patard leaves the child in her place. Marie was then at a masked ball, where, insulted by some man, she had been protected by Henry. When she returns home, she finds the child. It never entered her mind to take it to the Foundling Hospital, and keeps it with her. The same night, Father John finds in his basket, the rolls of bills lost by Patard. Baron Hoffman calls on Marie, whom he has followed after a meeting with Henry, and asks her to give up the young man. Learning that the young girl has a child with her, he seeks information and soon learns, by the coincidence of dates, who it is. He writes to Mme. Patard, stating that he knows he has been duped and that her only chance of pardon lies in the disappearance of the child. 50,000 francs is to be the price of that disappearance. As soon as he is satisfied that the midwife has secured the child, he writes to the magistrate and informs him that Marie Didier has done away with the child, whom, she states, has been stolen from her. Marie is arrested. On reading the paper, Father John learns of Marie's arrest, and also the name of the person who has lost 10,000 francs in notes. He sees that it is a plot against the girl. He endeavors to find the author of that vengeance, and calls on the midwife. After some prolonged questioning, John gets hold of the facts; he understands the part played by Mme. Patard and knows that the money was paid out by the baron. He calls on him and the two men, without seeming to do so, recognize each other. Garousse-Hoffman recollects that Father John was formerly fond of drink. Forgetting his oath, Father John gets intoxicated and Garousse steals the papers containing the proof of the crime. This, however, does not deter Father John, and his desire to save Marie is not to he swerved. He finds the means to enlist the sympathy of the magistrate, and, by the aid of a detective, Mme. Patard makes a full confession. She is arrested. Accompanied by two policemen, he repairs to the baron's house, who, by means of stratagem, is made to confess that he really is the murderer of Didier. Marie Didier, upon being set free, weds Henry Berville.

Dir: Emile Chautard

Henri is surrounded by fawning courtiers, who hide behind their smiles a deadly intent to do away with him at the first opportunity in favor of his brother, Duc d'Anjou. There is but one man who is honestly Henri's friend. This man is Chicot the Jester, a huge, handsome, fearless fellow, true as steel, to those who called him friend, deadly as venom to those who dared betray him or his sovereign, and the only person who may speak the truth to the king. Chicot the Jester is given an order by the king for the arrest of the gallant Count De Bussy, whose deserved popularity with the ladies of the court irritates the petulant Henri constantly. Chicot the Jester had the courage of his convictions; he was a man who dared. Knowing his friend De Bussy to be guiltless, he tore the court order into shreds and ordered De Bussy into retirement at the peaceful castle of Baron de Meridor, whose beautiful daughter, Diana Chicot, knew to be the adored one of De Bussy's heart. How De Bussy complied; how he was waylaid by the king's men within Diana's gates; how Diana nursed him secretly; how the uncouth Count de Monsoreau had the beauty kidnapped upon De Bussy's return to court; how De Monsoreau married her before Chicot, who had overheard the plot could interfere.

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

Dir: Emile Chautard

Austrian diplomats, seeking papers in the possession of the United States diplomat, work through the infatuation of his son, Harry, for an Italian widow. In his desperate financial straits, he is induced to turn traitor to his trust, but the woman, truly loving him, saves him from the consequences of his crime, at the cost of her own love and life.

Dir: Emile Chautard

When a judge is financially ruined by Peter Brownley, a Wall Street millionaire, his daughter seeks revenge by getting a job in the tycoon's office. She manages to discover information that she believes her father can use to recover his swindled money and do to Peter what he did to her father. However, she meets and falls in love with Robert, the son of the man who ruined her father. Complications ensue.