Rare Cinematic Gems Sharing the Atmosphere of The Unveiling Hand: Cult Guide

Dir: Frank Hall Crane

A wealthy society matron is enchanted by a world-renowned opera singer. Her jealous boyfriend, seeing his meal ticket slipping away, hypnotizes the singer and renders him mute. His ploy works, and the singer, now unemployable, soon runs out of money and is reduced to utter poverty. However, a figure from his past is in a position to help him regain his former fame and fortune

Dir: Frank Hall Crane

Dora, the daughter of a wealthy man, marries a good-looking young fellow from the country who has made an auspicious start in New York business life. Having won the girl by trickery, he proceeds to reveal a baseness of disposition that makes his young wife's life a terrible burden. He becomes a drunkard who abuses his wife and baby. Dora resents his cruelty and he robs her of the child, surreptitiously conveying it to his mother, then going away to sea on a fishing schooner. Bereft of husband and child, Dora falls prey to grief. Fresh suffering awaits her when news comes that her vicious young husband was drowned at sea. Concealing her identity, she makes her way to the fishing village where her husband was born, becomes his mother's paying guest, recognizes her child, and inspires the love of her husband's brother, now a clergyman. Dora's troubles are about to recommence with undiminished severity. Her husband married her under a false name, so she is in ignorance of his relatives, and in this state of ignorance she lends a willing ear to the wooing of the Rev. John St. John, her late husband's brother. The wedding ceremony is about to take place when a storm at sea arises, a ship in distress is sighted, there is a call to man the life-boat, and Dora's fiancé volunteers. Among the rescued is Dora's legal husband Frank, who re-asserts his claim to wife and child, grows jealous of his brother, and once more becomes a drunkard. One of his New York reprobate companions appears to demand money. There is a quarrel and both men are killed. The sinful man has reaped as he sowed, and like so many of his kind has made others suffer for his misdeeds, particularly the fond girl who married him.

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

Dir: Frank Hall Crane

George Castleman, an engineer, succeeds in securing the supervision of a big railroad in the west. He hurries home to tell the good news to Mildred, his wife. As usual she is at the Bridge Club, or other place of amusement, but being so full of his good luck he phones her to come home at once. However, she continues to play her game of bridge for another hour. An hour later she enters with excuses to George, who allows her kisses to make it all right. He eagerly tells her the news and she is delighted, but when he talks of her going with him, she says: "Surely you do not expect me to go with you?" He laughingly explains that it is not tor a few months, but for years; that it is a big railroad. But she persists in her refusal to go with him. He makes arrangements for the trip, and goes off alone to face the wilderness, with Mildred's words ringing in his ears, "When you want to see me, you can easily come home." George reaches the west and the building of the road begins in earnest, but it is slow work in the mountainous country. One day Dan Holden, while sitting in front of his hut in the mountains, with his little grandchild Zell, sees in the distance the railroad crew breaking through the forest. As they draw nearer and nearer, day by day, both are fascinated by the work, never before having seen cars, tracks or steam shovels. Zell is attracted to George and he somewhat to her. However, he explains to her that he is married but she persists in seeing him, if only to cheer him up. One day, while returning from watching the men at work, old Mr. Holden falls and seriously injures himself. George carries him to his hut but the injury is too much for the aged man to survive and he dies two days later. Lonesome, Zell shares her lonesomeness with that of the engineer. Months later, strange are the happenings in the little mountain hut and also in the beautiful home in the city. Zell is a real little mother, being called the little mother of the hills, and George is bending over, looking at their new born babe with true love and happiness. On the other hand, Mildred has met a man named Morgan, a flirtatious society man, who has designs upon her and urges her to bring divorce proceedings against her husband. Leaving the city to get evidence against George, Morgan and Mildred arrive at the little village, leaving in a coach for George's hut. The driver, a half-witted chap, driving carelessly around a curve, drove his wagon and occupants over the edge of a cliff, losing his life as well as killing both passengers. The news was a terrible shock to George, but after directing his men to give the three unfortunates as decent burial as the little mountain place could afford, he was at liberty to consider Zell's love for him in a different light with the result that after marrying the little mother of the hills, he continues his work content at last that his wife and babe are worthy of his sacrifice.

Dir: Frank Hall Crane

Scandalous European temptress Lila Despard, travels to America to escape her lover, criminal Jack Firthenbras. On the ship, she meets Andrew Livingston, a United States Navy planner, and Senator and Mrs. Gales. Her new friends host a party for Lila in Washington, D.C., where a spy named Dromiroff threatens to expose her past unless she steals Andrew's secret naval plans. In order to secure the papers, Lila makes love to Andrew, but the plan backfires when she falls in love with him. Eventually, Lila agrees to marry Andrew, but during their honeymoon, Dromiroff abducts her from the bridal suite. At headquarters, Lila is shot while destroying the documents, and before dying, she telephones Andrew to confess her misdeeds. The conspirators are killed when their car plunges from a cliff.

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

Dir: Frank Hall Crane

Kraus' little jewelry shop on the east side of New York is typical of that locality thirty years ago, and while his competitors advance with the times, he stands still in the simplicity of his kindly old soul, and devotes more time to his domestic affairs than to his business. In the rear of his small shop are the few immaculate rooms presided over by Katie, his motherly old housekeeper for many years, who also fills the vacancy of mother for Marie, the daughter of Kraus. Kraus' most intimate friend and neighbor is Spiegel, a kindred soul, and the father of Fred. Both parents have planned for years the ultimate union of their children. Marie, however, has other ideas on the subject, and has given her heart to Frank MacPherson, a worthless young "sport" and the son of her father's keenest competitor. From time to time a pinochle game at the home of one or the other is arranged by the two old Germans, as a pretext to throw Marie and Fred in each other's company. Fred's attentions to Marie on these occasions mislead the old folks, who do not see that Fred's sincerity is not returned. Marie's eighteenth birthday arrives, and in honor of the event, Kraus closes up shop, and with Marie, Katie and the Spiegels, journeys to the Jersey shore for a picnic in the woods. Frank follows them, and in the midst of their gaiety calls Marie to him. She slips away unseen, and tells him of the predicament that her blind love for him has placed her in. Unsympathetic, he speaks of her delicate condition as his "rotten luck." His craven mind plans further deception, and she becomes the victim of a mock marriage. Before leaving with Frank she sends a boy back to the picnic with a note to her father, telling of her intention. Old Kraus' grief upon its receipt is pitiful, and the holiday's joy is turned to sorrow. No word comes from Marie and Kraus broods over his loss until poverty and want confront him. He is at last compelled to accept a position in the store of his former salesman and a home with the Spiegels. Meanwhile, Marie and Frank have traveled down a parallel scale until he leaves her with her baby and goes away. Without support she is eventually dispossessed from her squalid room, and going she knows not where, encounters Fred, her father's choice. He persuades her to come home with him, where his sister Alice makes her comfortable. The Spiegels now plan a reconciliation, and by shrewd means bring father and daughter back to each other's arms. MacPherson has turned against his son Frank, and is the means of bringing him to an accounting. With his grandchild in his arms, Kraus' anger melts, and the glances he detects between Fred and Marie make him believe that his fondest hopes may yet be realized.

Dir: Frank Hall Crane

The story relates how a valuable diamond is stolen by an Englishman from the eye of an Indian idol. The Englishman, on his return to London, is pursued by three Indian priests in disguise whose object is to secure "The Moonstone" at all costs, as failing its recovery, the priests will lose caste. The Englishman, Hearncastle, is found drowned, presumably having been killed by the Indians. The diamond passes into possession of Franklin Blake, his friend. Blake is followed by a band of Indian magicians. He presents the diamond to his fiancée from whom it is stolen. A detective is called in. Another girl in love with Blake commits suicide and suspicion attaches to her, as she leaves a mysterious note for Blake. Subsequently, Blake finds the diamond in the possession of a money-lender. His fiancée, learning of the dead woman's attachment for Blake, quarrels with him. A doctor discovers that Blake walked in his sleep and took the diamond himself while in that state. The diamond was stolen from Blake while he was asleep and never recovered. The thief confessed and died, and Blake and his fiancée were reunited.

A visual fragment from the archive: The thematic resonance of As in a Looking Glass perfectly mirrors the editorial trajectory of our deep dive.

Dir: Frank Hall Crane

Ruined by a powerful financial ring, Farrington commits suicide, after which his daughter Paula vows to take vengeance in her own hands and hunt the man behind the ring. At a house party, Paula meets Dr. Smith, who falls in love with her, but a misunderstanding separates them. Unsuccessful in locating the man, but knowing that papers in the house of Van Brunt, one of the ring members, will identify the leader, Paula secures the papers with the aid of Old Bill Fitch, a reformed burglar. To her horror, she discovers that the man is Dr. Smith's father. Paula relinquishes vengeance for love, and Dr. Smith's father, realizing the error of his ways, agrees to make reparations.

Dir: Frank Hall Crane

Cowboy Mark West lives with his sister Mary, who suffers from a serious spinal disorder. While on vacation at the West's ranch, Violet Ridgeway, an Eastern socialite, toys with Mark's affections and then promptly forgets him. After Violet leaves, Mark works hard and earns the money to pay for an operation for his sister, which Doctor Welsh and Doctor Boyd agree to perform even though they know that it will probably result in her death. As expected, Mary dies, and Mark receives a letter detailing the doctor's risk-taking. A vengeful Mark kills Dr. Boyd, but Welsh, who is engaged to Violet, flees to safety. Mark goes to prison, but later Violet marries him in order to satisfy a stipulation in her late aunt's will. On his way back to jail, Mark escapes, and when Welsh and Violet reunite, they travel past Mark's hideout, and he captures them. Peblo, an evil Indian who is infatuated with Violet, kidnaps her, but Mark kills him. During the fight, Welsh behaves like a coward, and an enlightened Violet escapes to freedom across the Canadian border with Mark.

A visual fragment from the archive: The thematic resonance of The Man Who Stood Still perfectly mirrors the editorial trajectory of our deep dive.

Dir: Frank Hall Crane

While developing a powerful explosive, naval officer Paul Towne introduces his friend Richard Tracy to Judith Corbin, his friend since childhood. For years, Paul had assumed that he would marry Judith, but when Richard proposes, Judith, tired of waiting for Paul, accepts. Soon after the marriage, Richard becomes more interested in the new explosive than in his new wife, and to pay off gambling debts, he agrees to steal the formula and sell it to a foreign government. While spying at close range on a test of the explosive, however, Richard is killed, after which Judith, who has long since realized her mistake in becoming Richard's wife, accepts Paul's marriage proposal.

Dir: Frank Hall Crane

After a touring theatrical company goes broke on the road, press agent Jack Bartling persuades a local Suffragette leader, Mrs. Eubanks, whose husband is a Senator and soap manufacturer, to hire him for publicity. When Jack and the Eubanks' daughter Nell fall in love, her parents object, however the Senator promises his consent if Jack can keep Nell, also a Suffragette, out of prison, and Mrs. Eubanks vows her approval if Jack converts her husband to the cause. At a protest in front of the Governor's house, Jack saves Nell from being arrested, thus alienating Mrs. Eubanks who wanted her to be arrested. The Eubanks move to New York, and after Jack locates them and sneaks into their apartment disguised as a window washer, he convinces Mrs. Eubanks to have Suffragettes all over the country clip the Senator's ten-cent coupons for his "Floating Lily" Soap. After the Senator agrees to support the Suffragettes rather than pay off $650,000 for the coupons, the Eubanks finally approve Jack as their son-in-law.