Cinematic Discoveries Following the Footsteps of The Secret Game: C...

Dir: William C. de Mille

An island ordeal: A woman chooses a count over an alcoholic doctor. The envious count poisons her but performs a life-saving blood transfusion, costing his life. She has the count's baby and ultimately remarries the rehabilitated doctor.

Dir: William C. de Mille

Based on the 1915 Colorado miners strike. Warren Harcourt, the coal company manager, comes to the scene. This causes a chain of events that will change the current status quo.

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

Dir: William C. de Mille

An artist in England is torn between an old flame and the now grown up little girl he has adopted.

Dir: William C. de Mille

The Hoorah, richest mine in California, has made millionaires of its three bachelor owners, Joe, Bud, and Dill. It occurs to the two latter men that this wealth, representing the labor and sacrifices of many long years, must, in the event of their death, revert to strangers. They decide that Joe, the most eligible partner, should marry and give them an heir. This Joe refuses to do. However, Bud and Bill set about to find a suitable wife for him. Their efforts are unrewarded, and Joe, in disgust, leaves town. Geraldine Kent, daughter of a poor but aspiring society woman, accepts the invitation of a friend to take a western trip. The mother, of her own invitation, accompanies them. Arriving at the hotel, they discover Joe in an undignified position on the floor playing with a youngster of five. The mother is shocked, but when she learns that Joe is wealthy, she is attentive to him, and persuades Geraldine to accept his proposal of marriage. Joe's lack of polish is such a source of constant embarrassment to him and his wife that his suggestion to Geraldine that they run away from it all is gladly accepted. Discovered by her mother just as they are about to leave, Joe is enlightened by Mrs. Kent's expression of her sorrow at forcing Geraldine to marry such a boor because they were so sadly in need of money. Heartbroken, Joe gives them the money and departs. At the end of a year, Geraldine sues for divorce. Bud and Bill leave Hoorah City for a trip to see Joe's baby. Not until Joe reads in the paper an account of the divorce proceedings does he know that he has a son. He also starts out to see the baby, and the three men meet. Both Bud and Bill claim the right to be the namesake of what they consider a "partnership baby," but learning the little one is a girl, they order at once baby wardrobes by the carload. Joe realizes the mother-in-law's responsibility for his unhappiness and sends her east by the first train. Geraldine has learned that Joe's greatest desire was for a child, and when he accuses her of marrying him for his money, she meets it with a statement that he married her for the baby. He suggests that she take the money and he the baby, but as the little one starts to cry, he is frightened, and hands it to the mother. As they look at the baby, and then at each other, they realize how foolish they have been, and Joe takes both mother and child into his arms.

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

Dir: William C. de Mille

Mirandy, the daughter of a laundress, scrubs floors in an opera house. Before she can marry the handsome organist for the opera, she decides she must improve her social standing.

Dir: William C. de Mille

A fascinating piece of cinema that shares thematic elements.

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

Dir: William C. de Mille

Deciding that there is money in cows, young New Yorker Dick Tavis buys a Western ranch; when the novelty has worn off he decides that there is also monotony. Then he falls in love with a girl on a calendar and takes a new interest in life, particularly after he discovers who the girl is. The fact that her uncle swindled him on the ranch does not matter. He figures he can take care of the uncle, and he does, but not until he has been forced to masquerade as a woman and have half the men at a fashionable resort fall in love with him.

Dir: William C. de Mille

When Julian's wife Daisy leaves home to visit her sick father, he finds himself attracted to his best friend's wife Margaret, who has been neglected by her husband. Julian and Margaret take a drive to a mountain resort, and find themselves about to consummate their affair when something happens that makes her have second thoughts. Complications ensue.

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

Dir: William C. de Mille

After an accusation of a breach of diplomacy committed by his brother, Hashimura Togo bears the burden and leaves Japan in disgrace for the United States where he enters the employ of Mrs. Reynolds as a butler. Togo discovers that Mrs. Reynolds' daughter Corinne is in love with Dr. Garland but is being coerced into marrying Carlos Anthony who, having seized all of her deceased father's funds, now promises to save the family from financial ruin in return for Corinne's hand in marriage. Enlisting the aid of a reporter, Hashimura succeeds in proving Anthony's deception in time to stop the marriage, freeing Corinne to marry Garland. After a series of misadventures, his name is cleared and Hashimura returns to his sweetheart in Japan.

Dir: William C. de Mille

The Kid, a product of the slums, is employed at an artificial flower factory, as an expert "slipper-on." She possesses a monstrosity of a hat which is the envy of her companions wherever it appears, and she loves it. Judge Evans, a young man of unapproachable character, takes up his residence in the tenement district in order to unearth the man at the head of the vice ring composed of social and political parasites. In reality, he is the father of Doris Mordant, to whom Evans is engaged. Realizing that he must "get" the Judge or be ruined himself, Mordant, assisted by unscrupulous politicians, arranges a plot in which the Kid (whom the Judge has discovered in the tenement where he himself lives), evidently accosts a man on the street. She is taken into Judge Evans' court and to prove his assertion that "there is some good in all of 'em" the Judge tells the Kid to select five companions and he will send them all to his farm for three months. Mordant frames up a scheme to send with them a woman of the streets, and provides her with money and a camera. At the farm, the Kid discovers the girls plotting to secure a compromising picture of the Judge and the woman, but they persuade her to keep still by telling her they will "queer" Evans' engagement to Doris and then he will turn to her, and the Kid's love is so great, she finally acquiesces. Following his trial and disgrace, the Judge falls ill and the Kid cares for him. He learns to love the child of the slums, and her devotion to him is as pitiful as it is sincere. The Kid believes the Judge is pining for Doris, and with her companions, whom she forces into telling the truth, goes to the District Attorney's office and before Mordant, Doris, Evans and others, makes a clean breast of the while affair. Evans' love for Doris is dead and he turns to the Kid, declaring his love. She is taken to the home of the competent woman for one year. Every month the Judge receives a photograph which shows the metamorphosis of both hat and girl. At the end of the year Evans goes to claim as his own the girl who saved him from ruin, and finds her the embodiment of refinement and simplicity.