Deep Archive Finds in the Vein of The Mite of Love: Cult Guide

Dir: George Terwilliger

A fascinating piece of cinema that shares thematic elements.

Dir: George Terwilliger

A visual fragment from the archive: The thematic resonance of She's Everywhere perfectly mirrors the editorial trajectory of our deep dive.

A nervous business man is pursued by what he thinks are visions of the same girl in many places. The latter turns out to be an authoress who changes jobs frequently in order to get literary material.

Dir: George Terwilliger

John Carter is a good fellow. In fact, his good fellowship is Carter's one great fault, for the highballs and cocktails which go with it too frequently make him forget his more serious obligations and are cause for anxiety on the part of his charming fiancée Marybelle. Marybelle's little brother, Billie asks Carter what is making Marybelle so sad. Carter replies evasively, "It's a Ringtailed Rhinoceros." Billie vows to kill the rhino. When Carter fails to appear on time at a dinner which was planned to announce his engagement to Marybelle, and finally arrives intoxicated, her parents in anger force her to break the engagement and forbid Carter the house. Marybelle's rejection of Carter hits him hard. When he returns to his rooms, he finds little Billie, who has come to seek his assistance in his hunt for the rhino. Taking Billie on his knee, Carter tells him they will kill the rhino, and they begin to plan how to do it. Billie falls asleep. So does Carter. And Carter dreams. In his dream Carter has become what a harsh creditor predicted, a bum. Then he is shanghaied by pirates and made to scrub decks. Then the ringtailed rhinoceros appears to him and leads him to the captain's rum. The pirates chase him around the ship and finally make him walk the plank. Carter floats and floats and finally crawls out on an island. A guard appears and chases him. Dozens of soldiers appear by magic and all chase him until he falls at the feet of a little prince and begs to be saved. The prince saves him from the soldiers and takes him to see his sister, "The Weeping Princess." She must always weep until the ringtailed rhinoceros has been slain. Carter promises to kill the rhino, so, although the frowning king and queen trust him not, the prince gives him an eight-legged horse, "Resolution," and Carter starts on his hunt. He meets the rhino, but, instead of a killing, they have quite a party together in the king's wine cellar. This continues night after night for some time, Carter deceiving the royal family into believing he is after the rhino, until the Counsellor Bird, failing to make Carter ashamed of himself, "squeals" to the prince about it. They want to cut Carter's head off, but the little prince once more intercedes for him and at Carter's pleading, sets out with him to kill the rhino. The rhino and his "cronies" plead, threaten and cajole with Carter, but the prince's influence is stronger. Through the rhino's domain they plunge, firing at their tempters and not even stopping to "wet up" at the "River of Drinks," which is so inviting to Carter. Seeing that Carter is at last in earnest, the rhino calls his crowd together and they attack the castle. Carter and the prince hasten back to the rescue. On the way Carter finds a bottle of wine. Just as he is about to put it to his lips, the prince commands: "The rhino is here. Kill him!" and as the dreaded beast plunges into the throne room, Carter sends the bottle hurtling at its head. The Rhino falls dead. The princess stops crying, and throws herself gladly upon Carter's manly bosom. The king, queen and all the court hail Carter as a hero. And although this prophecy is made in a dream, it is fulfilled in real life, for Carter comes out of his dream a saner and sober man and tells Billie and Marybelle that he has killed the ringtailed rhinoceros.

Dir: George Terwilliger

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

Episode 1: "The Jade Necklace" Dorothy Desmond, an inexperienced Kentucky girl whose father, an editor, had been shot at his desk by a political opponent, and whose mother had dropped dead of shock, found herself left virtually penniless. She believed she had a gift for writing and came to New York to seek a position on a newspaper. She was assigned to Chinatown to get an opium den story. She missed her escort and bravely and foolishly went to Chinatown alone. She yielded to the invitation of a Chinaman to enter his shop and inspect some beads, and he was at the point of attacking her when a storm of revolver shots broke, and a tong war was on. At the crack of the first pistol the Chinese shopkeeper desisted from his evil designs and shoved Dorothy into a secret room, the door of which he closed and locked on the outside. The girl was mad with fear. To her through the deadening walls came the sounds of the shooting. Then the shots ceased as suddenly as they had begun, and she heard faintly the gongs of police ambulances and patrols. Had she been liberated she would have seen white-jacketed emergency surgeons and orderlies picking up dead and wounded Chinamen and putting them into the wagons, while blue-coated officers with busy clubs rounded up other Chinamen, dragging them from all sorts of odd holes and corners and packing them into patrol wagons. "Worst tong fight in years," a sergeant observed pleasantly to a newspaper man. "Seven dead already, and some of the wounded sure to die. These Chinks shoot mighty straight for heathen. In the dark, too. What always puzzled me was how one tong could spot the other tong when they get mixed up in one of these nasty little wars. All Chinks look pretty much alike to me. You can never find out what started one of those shooting festivals. They won't tell a white man a thing. We can take our fill of guessing, though. Maybe it was a woman taken away from a member of one tong by a member of another. Maybe it was opium, maybe, you can think up a whole lot of maybes if you try, but what's the use"?

Dir: George Terwilliger

Following a prologue which shows that animals frequently desert their young, a jilted prehistoric suitor murders the child of the woman he loves. During the age of the Roman Empire, a soldier has a brief affair with a shepherdess, and long after he has left, she has their child. The shepherdess looks for the father, but returns brokenhearted after finding him with another woman, and then dies while saving her child from a poisonous snake. During the Elizabethan era, a wayward son seeks spiritual redemption through war, and is killed in battle. In modern times, a young, impoverished husband refuses to start a family, despite the pleadings of his wife. Then, when he finally starts earning enough money to consider children, his wife has an accident that makes it impossible for her to become pregnant.

Dir: George Terwilliger

A visual fragment from the archive: The thematic resonance of Perils of Our Girl Reporters perfectly mirrors the editorial trajectory of our deep dive.

A fascinating piece of cinema that shares thematic elements.

Dir: George Terwilliger

Matthew and Reginald Crosby, two brothers, and their cousin, James Thedford, manage an industrial conglomerate. Reginald marries an actress and gives so many lavish and ostentatious parties that one of them leads to a strike after being reported by labor editor Oscar Lackett. The strike leaders are fiery orator Jem Burress, German immigrant Louis Stolbeck, and Stolbeck's feisty daughter Louise, who is also Jem's girlfriend. John Stedman, a labor lawyer, lends moderation to the cause and thus impresses Matthew and Reginald's sister, Grace Crosby, who joins the workers. When Jem, jealous of Louise's infatuation with John, attempts to discredit him with the union members, Louise goes to John's apartment to warn him, but Grace arrives at the same time to accept John's marriage proposal. To prove her devotion to John and the cause, Grace summons her brothers to John's apartment, and when everyone converges, they finally resolve the strike.

Dir: George Terwilliger

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

A fascinating piece of cinema that shares thematic elements.

Dir: George Terwilliger

A jealous leading lady does herself out of money and honor, while the object of her jealousy steps in, carries the show and wins the love of the play's author.

Dir: George Terwilliger

A fascinating piece of cinema that shares thematic elements.