Hand-Picked Alternatives for Fans of The Pretenders: Cult Guide

Dir: Robert G. Vignola

Molly McGill, a scrub-woman, labors long hours so that her children will not have to face life in the slums. Driven to desperation after her husband and baby daughter are killed in the streets, and fearful that her little son Jimmy will suffer the same fate, Molly accepts the proposition of Harvey Brooks, a broker in one of the offices that she cleans, to become his mistress. Keeping her life a secret from her son, she places him in a vocational school. When Jimmy finishes his education, Molly returns to her life as a scrub-woman. Then one day she reads in the paper of an heroic act performed by Jimmy, who is now a fireman. Unable to resist temptation, she creeps past the fire station where she sees Jimmy with his sweetheart, Dora Palmer. Later the girl seeks employment as a stenographer in Brooks's office where Molly is again working, and she keeps a watchful eye on Dora. True to Molly's suspicions, Brooks attacks Dora and Molly springs to her aid. In the ensuing fight, Brooks is killed and a fire breaks out. Jimmy comes to the rescue, but there is time to save only one of the women; and so Molly is left behind to die in peace, knowing that her son has escaped the slums.

Dir: Robert G. Vignola

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

After their wedding, Richard Vaughan and his wife Courtney take up residence in Richard's ancestral home. Courtney, despised by Nanny, the old housekeeper, and neglected by her husband, who buries himself in his chemical experiments, leads a lonely life. Consequently, when experimental chemist Basil Gallatin pays a lengthy visit to the Vaughan home, Courtney finds herself attracted to him. One day, during Richard's absence, a burglar alarm places Courtney and Gallatin in a compromising situation. Witnessing their embrace, Nanny is struck speechless, but when Richard returns she recovers her speech and gives damning evidence against Courtney. Gallatin flees, and Richard, realizing his culpability, gives his wife a divorce. Having read of the divorce, Gallatin returns and Courtney admonishes Richard to kill them both. Richard frightens Gallatin away with the threat of exploding one of his compounds, but Courtney defies death and remains. A reconciliation between husband and wife then follows.

Dir: Robert G. Vignola

Lester, returning from Mexico, becomes interested in Helen, a girl whose life he had saved. Helen, according to her uncle, Vanderhoff, is insane. Dr. Luchow, Lester's friend, confirms Vanderhoff's statement. Upon returning home, the author finds that the Vanderhoffs have rented the adjoining cottage. The writer sees Helen drop a note. Picking it up, he finds the paper blank. Lester's window faces Helen's window. That night, the girl informs him in pantomime that the note contains a message written in milk. Scorching brings the message into view. As the result, Lester learns that Helen is the victim of a foul plot on the part of her uncle who desires to obtain her fortune. The girl drops a notebook which contains the details. The author is thus informed that Vanderhoff, by keeping his niece drugged with a loco weed preparation, succeeds in fooling the physicians who examine her. Lester breaks into the Vanderhoff house the following morning. He is discovered by Jose, who knocks the author unconscious and places him in the room above the dining room. Vanderhoff hastens his preparations to place Helen in the insane asylum. Dr. Luchow calls for the purpose of preparing the papers. Lester, using the top of a ventilator, saws away at his bonds. The blood from his bruised hands drips down upon Luchow's paper and the doctor soon becomes aware of what is going on. Jose attacks Lester just as the latter gains his freedom, but Dr. Luchow's timely arrival saves his friend. The Mexican and Vanderhoff endeavor to make their get-away in an auto, but an explosion, which wrecks the machine, ends their villainous careers.

Dir: Robert G. Vignola

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

Anna, who lives with her harsh-tempered aunt, eagerly seizes the opportunity to join a traveling repertoire company. The girl and Darnton, the "villain" in the company, become deeply interested in each other, and because of Anna Darnton conquers his terrible craving for liquor. Later, when the troupe disbands in New York, Anna meets Rita. The girl makes the acquaintance of Marbridge, an agent of the worst type, and only her wit saves her from the man's clutches. Following a quarrel with Darnton, Anna foolishly consents to go autoing with Rita and the fast set with which the latter associates. The auto hurtles over an embankment and Anna alone escapes death. A reconciliation with Darnton follows. Anna obtains a position in the company in which Darnton plays the villain. The girl receives her great opportunity when the star, whom she is understudying, is injured on the opening night. Enwright, the manager, learns of the love between the new star and Darnton. Fearing lest sentiment affect their work, he sends Darnton to head the Chicago company. But the separation depresses Anna so greatly that Enwright orders Darnton to return. The player comes back unknown to Anna and suddenly appears before her at the next performance. The ensuing scene thrills the audience, which never for a moment suspects that the heroine and the villain are secret lovers. But the moment the curtain has descended Anna walks into Darnton's arms. Her lips meet his.

Dir: Robert G. Vignola

A humble orphan suddenly becomes a gentleman with the help of an unknown benefactor.

Dir: Robert G. Vignola

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

Audrey, an orphan, becomes the ward of a wealthy man, but when he travels to England, she is turned over to an unscrupulous couple who usurp her money and turn her into a slavey.

Dir: Robert G. Vignola

A fascinating piece of cinema that shares thematic elements.

Dir: Robert G. Vignola

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

Seventeen-year-old William Sylvanus Baxter has fallen madly in love with young coquette Lola Pratt. After he has spent all his money on the fickle girl, she runs off with an older man. Now heartbroken, William contemplates suicide until May Parcher, a friend from childhood, visits him and decides to fall in love with him.

Dir: Robert G. Vignola

The children of a a novelist, Nicholas, contract scarlet fever. His wife Anne stays in the house to take care of them, but the house is quarantined by the authorities and Nicholas, not being allowed in the house, takes a room in town until the quarantine is lifted. Lonely, he begins to feel attracted to his illustrator, Esmee. They begin an affair, but soon Nicholas finds that Esmee's expensive tastes are driving him to bankruptcy. His wife finds out about the affair, and devises a plan to teach her husband a lesson and get his mistress out of the picture at the same time.

Dir: Robert G. Vignola

Amina loves Rudolph and turns the powerful Count Wolfenstein down when he proposes to her. In a jealous rage, Wolfenstein throws Rudolph into a dungeon. Meanwhile, Hertzog, "The Black Crook," has a deal with the devil: he must hand over to Satan one soul each year or find himself banished to Hell. With only 24 hours left before the year ends, Hertzog focuses all of his attention on Amina and Rudolph, believing them to be weakened from despair and therefore easy prey.