Masterpiece Selection Resonating with the Themes of The Whisper Mar...

Dir: George L. Sargent

Mary, the maid in a boardinghouse, falls in love with boarder John Slocum. Planning to marry, the couple jointly opens a savings account. In order to increase the account, John deprives himself of the barest necessities until he realizes that his scraggly appearance is making him the laughingstock of his office. After winning a lottery, John takes his winnings and invests them in fine clothes which allow him entry into exclusive restaurants where he eavesdrops on the brokers for stock tips. Meanwhile, Mary, suspicious of John's new raiment, believes that he is having an affair, but is pleasantly surprised when the tips pay off, making John a millionaire.

Dir: Alexander Butler

In Alberta, Canada, a Cornish emigrant unmasks a rustler posing as the girl's "blind" father.

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

Dir: Robert N. Bradbury

A simple country girl, brutally mistreated by her stepfather, awakens first the sympathy, then the love, of The Boy. The Spider, who lusts after The Girl, makes a bargain with the stepfather and takes her to the city where, kept prisoner, she is soon broken in health and spirit. Cast out and near death, she is taken in by The Boy. Following the demise of The Spider, The Boy takes her to church, where he prays, and after many hours she is restored to health.

Dir: George L. Sargent

Philip, a young dilettante, is a great disappointment to his brother, Miles, in whose home he is living when the story opens. Louise Holden, wife of Miles, labors valiantly to interest her dreamy young brother-in-law in something besides literature, but fails in this until, after great urging, Philip is induced to attend a bridge party given at the house. This marks the turning point in his career, for among the fashionable people in his brother's drawing room, he is presented to Helen Landon, daughter of a wealthy banker. In the moment that Philip looks into Helen's eyes, he loses interest in the book he is trying to write, and falls deeply in love with the girl. But he dares not tell her in so many words of his love, for just a few hours before they met, he was informed that his account is overdrawn at the bank. Miles denounces Philip as a waster, doomed to a miserable end. Helen's father, Robert Landon, is in league with Miles to corner a certain mining stock, D.L. and B. Their intention is to hammer the stock until nobody wants it and then buy into the concern on some inside information they have obtained as to its real value. Pushed to consideration of material matters by the constant urgings of his brother, and by the necessity for bestirring himself if he is ever to meet his beloved Helen on equal terms financially, Philip starts out looking for work. The dabbler in literature announces to the head of a big business concern that he wants a job at $6,000 a year as a starter, making himself ridiculous. The young fellow is turned away wherever he goes, until, entering the office of a mining stock shark, he finds an opportunity to sell stock on commission, taking his commissions in stock, which the promoter himself believes worthless. Philip carries a collection of pictures of the mine location with which to sell stock. He expounds to wealthy women on the beauty of the scenery surrounding the mine property, and with extraordinary good luck, sells the stock like hot cakes. Then comes a surprise; the promoter receives a telegram, which apprises him that large quantities of ore have been uncovered. The stock that Philip has been carrying round in his pocket is now worth a fortune. While trying to talk to his fiancée - for by this time he has proposed to Helen Landon - he overhears a plot between his supercilious banker brother and Landon, Helen's father, to corner the market in D.L. and B. stock. Philip enters the stock market against the two plotters and buys the mining stock as fast as they hammer it down, obtaining it practically at his own figure before Landon and the elder Holden realize that they have been caught short. In this dilemma they discover that much of the stock they have been selling has fallen into the hands of Philip, and Landon telephones in desperation to his putative son-in-law to "come on over." Philip is appealed to by the two market-riggers to let them have enough of his stock to cover their shortage. Copying the superior air of his brother, Philip keeps them on the anxious seat for a time, but finally yields, with the smiling consent of Helen.

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

Dir: William Parke

Bruce Wendell, the son of West Virginia coal mine owner James Wendell, graduates from West Point and prepares to lead a fighting unit to the front during World War I. As his father lies dying, however, he convinces Bruce to remain at home and guard the mine. Bruce's fiancée Ann Blair assumes that he is a coward and breaks off their engagement, but her brother Bobbie remains Bruce's loyal friend. Meyer, a German agent, persuades railroad president Parrish to refuse to transport Wendell's coal, but when Bruce adamantly refuses to close the mine, the spy's men decide to blow it up. While Ann is being abducted by Meyer, Bobbie is buried in an explosion at the mine. Bruce rescues Bobbie and then sends a plea to Lieutenant Parrish to rescue Ann. Meyer and his gang are captured and Ann renews her vow of love to Bruce.

Dir: Wilfred Lucas

Brian O'Farrell (Snowy Baker), is an English 'new chum' who takes a job at an Australian cattle station. He is teased by station hands because of his appearance (including spats and a monocle) but he soon impresses them with his skills at riding and boxing. The station manager, John MacDonald (Wilfred Lucas), takes O'Farrell to Sydney to meet his daughter Edith (Kathleen Key) who is working in the slums. Edith is kidnapped by criminals after witnessing a crime but O'Farrell rescues her. It is later revealed he is the owner of the station.

A visual fragment from the archive: The thematic resonance of Philip Holden - Waster perfectly mirrors the editorial trajectory of our deep dive.

Dir: George L. Sargent

Shye, seated under a tree near the seminary, is not so wrapped in his studies as to fail to see the trim ankle displayed by Tottie as she stoops to tie her shoelace. His eyes stray upward until they rest upon her face. At once Shye forgets all about his studies. The love-sick young man follows Tottie, who happens to be on her way to Maxim's, where she is due to take part in a Saturday matinee performance. Returning home, he suggests to his three friends (much to their amazement) that they make a trip to Maxim's that evening. Anxious to see the girl who has made such an impression upon him, Shye waits for midnight, when the cabaret is due to commence, with extreme impatience. The sight of Tottie in the various numbers fills him with ecstasy. The first part of the performance over, Shye collects the flowers from the holders on the tables and then endeavors to enter Tottie's dressing room. A man guards the door, however, and Shye is compelled to grease his palm before he can gain admittance. Tottie appears glad to meet him and promises to have supper with him after the show. Unknown to Shye, his friends are also smitten with the little blonde and like him, get Tottie's promise to have supper with them. The men hasten around to the rear entrance and the sight of each other waiting for the same girl fills them with ire. A fight is about to take place, when out walks Tottie, clinging to the arm of the individual whom all had to bribe before they could see her. Calmly introducing Tottie to the love-stricken youths as his wife, he and the little blonde walk away.

Dir: Charles Horan

While working as a flower girl in Devlin Maddox's nightclub, Nellie Vaughan meets wealthy young Pelton Van Teel and falls in love. Maddox, desirous of using Nellie to blackmail Van Teel, spreads a rumor that she is his mistress. This makes Nellie uncomfortable, and she demands that Van Teel marry her immediately, to which he agrees. Meanwhile, Van Teel has been losing money gambling to Maddox, who threatens to break up the marriage by producing a worthless check that the young husband has written. Venturing to Maddox's apartment for a showdown, Nellie pulls a gun and demands the check, accidentally shooting Maddox when he throws a lamp at her. Maddox plans to charge Nellie with assault, but when the police arrive, his butler, actually a detective employed by the elder Van Teel, exposes Maddox, who is then arrested, clearing the path for the couple's happiness.

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

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.

Dir: Dallas M. Fitzgerald

Confidence artist Flossie Golden attempts to fleece foolish but wealthy James Venable with a breach-of-promise suit. Venable's shrewd attorney, Richard Harding, outwits Flossie by proposing that she marry Venable and live on an allowance of $3,000 per year. Flossie is determined to get even with Harding for ruining her plans. In an attempt to con him, she poses as Innocence Page, but falls in love and marries him instead. Larry, Flossie's former accomplice, endeavors to blackmail her with her errant past, but Harding is already cognizant of the facts and Larry fails.