Curated Recommendations Similar Cinematic Experiences to The Tiger'...

Dir: Charles Giblyn

In Italy, Sister Beatrice becomes the confidante of the Contessa Angelica de Vecchio, whose brother, Prince Candoni, has placed her in a convent for having an affair with Carlo Parodi, a young radical. Angelica soon dies, and Beatrice, suddenly aware that she needlessly has shut herself off from the real world, leaves the convent and joins a group of revolutionaries. She marries Guido Perli, one of the leaders, and tries to temper his radical fervor with some religious tolerance. Finally, however, he calls on the people to rise against Candoni, and a horrified Beatrice alerts the prince. Candoni sends out his guards, and during the fighting, both Carlo and Guido are killed. Before he dies, however, Guido forgives his wife for betraying him to the prince, after which a remorseful Beatrice returns to the convent.

Dir: Charles Giblyn

A visual fragment from the archive: The thematic resonance of Let's Get a Divorce perfectly mirrors the editorial trajectory of our deep dive.

The Sardou play begins with this girl's life as the young wife of a man nearing forty, kind enough to his bride, but more or less absorbed in his serious work. She has dreamed of romantic love, intoxicating adventure, and tumultuous passions only to find none of these things in retirement with a good husband. She decided that her existence has been wrecked and ruined, and gets it into her foolish head that the only remedy is a divorce. There is a lover handy, her husband's cousin Adhemar, French in his ambition to have an "affair" with some charming married woman, and equally French in his thrift; he is a poor young man in no situation to marry any such extravagant young lady. The clear-headed husband enters into a little conspiracy with some friends to let his bored young wife have her own way, ostensibly yielding to her wishes, and he even makes things as easy and comfortable as possible for the unsuspecting lover, inviting him to the house, and announcing that he has even provided for his wife's future by settling a large sum of money upon her. She sees that this settlement has weight with the lover, and begins to falter, but she goes on determinedly with what gradually loses all the charm of forbidden fruit. Her relations with Adhemar become more and more commonplace at a time when she begins to realize her husband's magnanimity. He has denied her nothing, and he gives Adhemar full permission to marry her as soon as the divorce is granted. Meanwhile she begins to be distressed by the fact that her husband seems to be enjoying himself, staying out late at night, and suspects that he has an "affair" with some woman "not worthy" of him. She revolts when he announces he has a dinner engagement, urges him to break it and have a little celebration with her and Adhemar, finally deciding to leave Adhemar out altogether. It would be such a lark to steal away from him and have dinner in a private room with her husband, so compromising. Adhemar learns of the infidelity of his wife-to-be, and goes in search of her in a rainstorm. He is drenched when he finds the restaurant where she is dining alone with her husband in a private room contrary to what he conceives to be the rights of a husband-to-be, and he is so indignant that he seeks the protection of a Commissary of police as a safeguard for his future marital rights. The situation now becomes ludicrous in the extreme, and it ends with restored sanity for the young wife, and a complete reconciliation with her husband.

Dir: Charles Giblyn

At the death of John Gower, his widow and daughter, Mildred, find themselves with only a few thousand dollars, as the family lived almost up to the limit of Cower's income. Mildred's mother tells her it is necessary that she marry money. Mildred is fond of Stanley Baird, but her hopes in this direction are shattered by the announcement of his engagement to another woman. Mrs. Gower marries Presbury, an elderly man who thinks she is wealthy, and when he learns the truth he begins taunting Mildred until she is willing to do anything to escape from her humiliating position. Presbury arranges a marriage between Mildred and a multimillionaire, General Siddall. The bride soon discovers that while her husband will buy anything for her she wants, so that he can make an impression upon the world with her beauty, he will not give her any money. This forces her to realize that she is barely more than a piece of furniture in the General's establishment. She leaves him, and meeting Baird learns that he and his wife have separated. He undertakes to furnish her with funds for the cultivation of her voice for an operatic career, with the hope that one day they will be free to marry. Mildred makes slow progress. Her voice is good but uncertain. She meets a young lawyer, Donald Keith, who tells her that she will never succeed because she is too fond of luxury and ease. Meanwhile she discovers through Keith's investigation that she was not legally married to General Siddall, as his first wife was still living, confined in an insane asylum. The General has made many attempts to get her to come back to him, but she refuses. Finally she declines to take any more money from Baird, and by economy, self-denial and hard work succeeds in her musical ambition. Having achieved her independence she is now free to choose between Stanley Baird and Donald Keith, to both of whom she owes a debt of gratitude. Her choice is a happy one, and leaves the story of the life of this typical American girl perfectly rounded out.

Dir: Charles Giblyn

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

Theodore Whitney, Sr. commissions his son Theodore, "Ted" Jr., to retrieve a missing stock certificate. On the road, Ted meets and falls in love with Betty Blake, the beautiful but elusive niece of Major Blackburn, whose home was recently robbed. When a detective disguised as British nobleman Lord Roxenham arrives to investigate the case, Ted bribes the officer to let him play the role for one night so that he may be near Betty. As the love struck young man is romancing his sweetheart, Lady Roxenham suddenly arrives, alienating Betty and throwing Ted into a panic. Lady Roxenham agrees to participate in the deception, but later Ted spies her breaking into the major's safe. After he alerts the household, she and the butler are revealed as notorious thieves. Betty, who had been trying to purchase Whitney's stock, accepts Ted's marriage proposal, and the profits are shared between the two.

Dir: Charles Giblyn

The pride of his aristocratic Southern family, a young man shatters his family's hopes by marrying a Broadway vamp known as "The Moth." The young man's father then plots to rescue his unwitting son from "The Moth's" clutches, but at great sacrifice.

Dir: Charles Giblyn

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

Bored by the slow pace of life in her little home town, Helen Drayton rebels when her friends and relatives assume that she will marry her friend and escort, Chet Vernon. Helen is so anxious to experience life in the big city that she falls in love with visiting New York architect John Galvin almost immediately after his arrival. Several weeks later, the two marry and move to New York, where, after a series of painful experiences, Helen finally realizes John's selfishness. In the end, she gratefully returns home and becomes Chet's wife.

Dir: Charles Giblyn

Alice Chesterton (Olive Thomas) is described as a "Baby Vamp" by the social set and engaged to boring Tom Carey. She flirts with many of the male guests idling at the Ives' Long Island house party, then encourages Terence O'Keefe, a playboy polo player from Ireland in New York to purchase horses for the British army, to rendezvous with her in the city, they are seen together at the "Midnight Frolic." Because of this, Mrs. Ives convinces Alice's newly-arrived sister Betty to look after Alice. Betty arranges for Terence to find her in an auto wreck where he revives her with a kiss. Genuinely in love with each other, they plan to marry, until the jealous Alice tells Betty that Terence "ruined" her. When Betty accuses Terence, he makes Alice confess her to her lies. Tom, encouraged by Terence's advice, overwhelms Alice with his "caveman" tactics. At the end, the servants, who have observed the upstairs activities, emulate their masters' flirting mannerisms.

Dir: Charles Giblyn

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

Mabel waits on the residents of a local boardinghouse, but her fondness for pranks finally leads to her dismissal. By a strange turn of fortune, Mabel finds herself in the possession of a traveling corset saleswoman's suitcase, whereupon she adopts the profession herself. While passing through a small town, Mabel decides to take a swim in the ocean, but as she frolics, her suitcase, which contains all of her clothing, is stolen. Forced to wear only her bathing suit, Mabel sets off in search of her clothing and learns that the police, having identified the suitcase as belonging to a jewel thief, are in search of her. Following several adventures, she discovers that the jewel robbery, which involved her friend Lena, was only a publicity stunt.

Dir: Charles Giblyn

A young woman's sweetheart fights for the Union, while her brother fights for the Confederates, in the pivotal 1863 battle of the U.S. Civil War.

Dir: Charles Giblyn

Having to support her impoverished family, Grace Tyler poses for artist Michael Arnold, who seduces his new model and then leaves her. A few years later, after Grace has married the wealthy John Marshall, her sister Ruth, repeating Grace's mistake, becomes involved with Michael. Grace tries to break up the romance, until Michael threatens to expose their own affair to John, who has already become somewhat suspicious. Determined to learn the truth about his wife and Michael, John goes to the artist's studio while Grace and Ruth are also there, then, after a brief struggle, Michael dies from a knife wound. John is accused of the murder, but just before a jury convicts him, Ruth confesses to the crime and the court quickly acquits her because she had been defending her honor against Michael's advances.