Recommendations
Senior Film Conservator

The evocative power of They Met in a Taxi (1936) continues to haunt audiences with its cult status, the artistic provocations of They Met in a Taxi demand a follow-up of equal intensity. Explore the following titles to broaden your appreciation for Romance excellence.
The visceral impact of They Met in a Taxi (1936) stems from to transcend the limitations of its 1936 budget and technology.
A cab driver takes in a young woman who claims to be a reluctant bride, and becomes involved in the search for a stolen necklace.
The influence of Alfred E. Green in They Met in a Taxi can be felt in the way modern Romance films handle cult status. From the specific lighting choices to the pacing, this 1936 release set a high bar for atmospheric immersion.
Based on the unique cult status of They Met in a Taxi, our vault has identified these titles as the most compelling follow-up experiences for fans of Romance cinema:
Dir: Alfred E. Green
While on vacation from college, William Bankinton is shipwrecked. His mind a blank, he is picked up by a derelict ship upon which there are only a lion and a stowaway named Broot. After Broot commits suicide, Bankinton and the lion are cast adrift upon the shores of Africa where they exist in a primitive state for several months. One day, when Nakhia, the daughter of the Bedouin chief Ali-Es Hadji is out riding, she is beset by danger. Bankinton comes to her rescue and gradually he and the girl fall in love. Ben Saada, the bandit chief, desires Nakhia, and tries to kidnap her. The lion and Bankinton once again come to her defense, and in the ensuing fight, Bankinton is struck on the head and his memory is restored. He then proposes to Nakhia, and the couple set sail to America where they are reunited with Bankinton's family.
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Dir: Jacques Jaccard
Douglas MacLeod of the Royal North West Mounted Police is in love with Suzanne Foucharde, who has adopted an abandoned Indian baby, the illegitimate child of Louis La Rocque and Na Fa Kowa. When La Rocque insinuates that the baby is Suzanne's, her brother Henry defends his sister's honor and kills the villain. In spite of his love for Suzanne, it is Douglas' duty to arrest Henry. He does so, but later allows him to escape, taking the bullet himself that was fired after Henry by Constable Burke. Meanwhile, the dead body of Na Fa Kowa is found, accompanied by a note proving that the Indian was the baby's mother. In the spring, when Douglas recovers from his wounds, he and Suzanne are married.
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Dir: Harry Southwell
A fascinating piece of cinema that shares thematic elements.
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Dir: Richard Smith
Two female candidates for Chief of Police live across the hall from each other, and their political rivalry follows them home, leading to plenty of hi-jinks.
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Dir: Maurice Campbell
Carver Endicott, a young sophisticate, is rejected by his fiancée for being too foppish and dull. When she feigns an interest in his father, Carver attempts to disgrace his family name by working as a farmhand and later as a busboy in a hotel. However, the newspapers only praise him for his self-sacrificing principles; and finding that he cannot bring shame to the family through menial labor, he takes up with a notorious actress. But when this maneuver also fails, he returns to his former fiancée, who has no further complaint about his being an inexperienced dullard.
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Dir: Alfred E. Green
Most of the scenes are laid in a parrot-and-monkey country in South America, a land where "it is always after dinner." The Llano Kid, a Texas bad man, flees there from justice. The consul persuades him to play the long-lost son of a Castilian family, and tattoos a coat of arms on the back of the Kid's hand to make the deception complete. The Kid is taken into the household, trusted and loved by the gladdened mother. For the first time he has a home. The romance develops. And when the time comes to rob and flee he has too much manhood to break the loving mother's heart. The surprise comes when it is revealed that the man the Kid killed in Texas was the real son.
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Dir: Charley Chase
A young married couple volunteer to take charge of several orphans after the asylum has burned down. Of course they find their hands full with their troublesome charges.
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Dir: Alfred E. Green
A fascinating piece of cinema that shares thematic elements.
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Dir: Maurice Elvey
A lady marries a horse trainer but withholds herself until her crippled brother is cured.
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Dir: Victor Heerman
In the gold fields of the Canadian Northwest, a man is falsely accused of a crime and determines that a lookalike is responsible.
View DetailsAnalysis relative to They Met in a Taxi
| Film Title | Atmosphere | Complexity | Similarity |
|---|---|---|---|
| The Lad and the Lion | Ethereal | Dense | 98% Match |
| Under Northern Lights | Gothic | Layered | 89% Match |
| The Kelly Gang | Tense | Linear | 95% Match |
| Lunatics in Politics | Ethereal | Dense | 97% Match |
| An Amateur Devil | Tense | Linear | 98% Match |
This guide was algorithmically generated using the cinematic metadata of Alfred E. Green's archive. Last updated: 6/7/2026.
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