Cinematic Discoveries Resonating with the Themes of Then Came the Woman: Cult Guide

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.

Dir: David Hartford

Yvonne Dupré, the sole survivor of a once-noble French family, makes a modest living selling her paintings to Leon Naisson, who resells them for exorbitant prices as the work of a famous artist. Leon confides to Yvonne's gypsy model, Romildo, that he is sexually attracted to the artist. Romildo drugs his lover, the fiery apache dancer, Juliette, who closely resembles Yvonne, then invites Leon to rape her for one thousand francs. Leon discovers that she is not Yvonne, but convinces the artist's sweetheart, Dick Gray, that she has been unfaithful. As police close in on Leon, he frames Yvonne by planting forged paintings in her studio. Following Yvonne's arrest, Juliette is informed by her foster sister that she was stolen by gypsies as a child and is actually Yvonne's twin sister. Juliette exposes Leon's operation to the police, reuniting Yvonne and Dick.

A visual fragment from the archive: The thematic resonance of It Happened in Paris perfectly mirrors the editorial trajectory of our deep dive.

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.

Dir: F. Martin Thornton

In Paris an orphan cartoonist loves a man with a mad wife, who dies in time to prevent her marriage to a jilted Comte.

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

Dir: Eduardo Notari

A crime drama in the Gennariello-series. The police detective in Naples that is confronted with modern gangsters and crime events.

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.

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

Dir: Edward Dillon

Her education in a French convent school completed, plain Justine Spencer returns to New York. There she is shocked to discover that her mother Dodo is a flamboyant musical comedy actress with many male admirers. Dodo, on the other hand, is dismayed to find Justine priggish and dowdy. One of Dodo's suitors is Billy Ferris, who, in a fit of jealousy, murders her and slays himself. Out of pity, Cosmo Spotiswood, another admirer of Dodo, marries Justine, but soon tires of his platonic marriage and leaves for Europe. Upon his return, Cosmo finds Justine transformed. Under the tutelage of Dodo's maid Loti, she has bobbed her hair and donned fashionable apparel. Thus changed, Justine is surrounded by suitors. Stung by jealousy, Cosmo falls in love with his sophisticated wife.

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.

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

Dir: David Hartford

Mary Lawton bids farewell to her father, Mark Lawton, and his business partner, John Adams, to whom she is engaged, leaving Arizona to study art in New York. After a time, John visits Mary unexpectedly and discovers to his sorrow that she has forgotten him in the convivial whirl of her new life. Upon his return to Arizona, he learns that Mark has died, and in his grief and disappointment, he sets fire to the house he built for Mary. Still in New York, Mary visits sculptor Trovio Valdez and is about to surrender to his advances when she sees his bronze statue of John. Realizing her love for her old sweetheart, she abandons her Bohemian friends and accepts a position as a governess with oil magnate Frank Marsh. Frank wants John's oil-rich lands but offers to give up his claim if Mary will be his wife. She agrees, but when Frank realizes that her heart belongs to John, he rides out of their lives, and they finally reunite.

Dir: Harley Knoles

Jim McDonald, the foreman of a shipbuilding plant and head of the labor union, strives to combat the anarchistic propaganda being put forth by Klimoff, the leader of a Bolshevik gang whose goal is to disrupt the country with strikes and anarchy. Despite McDonald's efforts, a strike is called, resulting in chaos. McDonald's child is knocked down by runaway horses abandoned by their striking driver, and dies. Mob scenes take place in America, as well as in Russia. Eventually, the unrest is quelled with an armistice called between Capital and Labor for a year, during which time wages are to be increased to reflect the cost of living, and leaders are to work out a common plan for their mutual advantage. The strikers now realize that they have been pawns of the Bolsheviks and call off the strike, agreeing to the plan.