Must-Watch List in the Vein of T'Other Dear Charmer: Cult Guide

Dir: William P.S. Earle

Hugh O'Donnell, the town blacksmith and leader among the people, is in love with Molly Conway, who shows her love for Hugh in mischievous pranks at his expense. Lord Percival Cheltenham owns most of the village and is hated for his war on poachers. One day, Lady Mary Thorne, who is visiting Cheltenham, stops at the blacksmith shop to have her horse shod and, impressed by Hugh's rugged manliness, invites him to visit. Molly, overhearing the conversation, follows Hugh to the manor, where she is seen by Cheltenham, who has been drinking, and dragged inside. That night, Cheltenham's gamekeeper shoots a poacher, and the peasants storm the manor in revenge. Hugh holds them at bay and promises to turn the culprit over to the law. Searching the manor for its master, Hugh breaks into the library and finds Cheltenham with Molly. Believing that they are having an affair, the blacksmith attempts to choke the lord until Molly explains that she had flirted with Cheltenham in order to arouse Hugh's jealousy, and all is forgiven.

Dir: William P.S. Earle

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

At a London auction, Princess Sonia bids against her husband, exiled Prince Victor, for a Corot landscape in which incriminating letters Sonia wrote are hidden, but it is bought by Michael Lanyard, who is suspected of being the mysterious, international thief "The Lone Wolf." After Lanyard gives Sonia the letters, she divorces Victor, marries Lanyard, and dies after bearing their daughter Sonia. Years later, Sonia, who thinks she is the daughter of the Princess' maid, is found by Victor, now the leader of an underworld gang of Asian crooks and Bolsheviks. Saying he is her father, Victor brings her to his home, hoping to entice Lanyard to make an appearance. When Sonia discovers the gang's plan to pump poisonous gas into Buckingham Palace and the homes of the wealthy so that Victor would be England's dictator, she tells Roger Karslake, Victor's secretary, whom she loves. Lanyard, who has been posing as Victor's Asian butler, and Karslake, both Scotland Yard agents, capture the gang amid fire and fights.

Dir: William P.S. Earle

Bill Matthews, foreman for Bethel Steel, works hard to perfect a means for the elimination of waste in steel manufacture. Philip Colt, inheritor of the steel mill, is in love with Daphne Van Steer, whose father is in financial straits. One day, visiting the mill with Philip, Daphne witnesses Bill thrash an insolent workman, and is impressed with his strength though she then snubs him. Bill soon perfects his invention, and coming into great wealth, resolves to become Daphne's social equal by employing socialite May Larrabee to coach him. May schemes to win Bill and his money for herself; however, Bill still wants to marry Daphne and help out her father, a plan to which Daphne finally agrees. Philip's continued pursuit of Daphne ends in a struggle from which Bill rescues her, after which Daphne finally realizes that she has come to really love Bill.

Dir: William P.S. Earle

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

At a reception given at the Rogers mansion in his honor, Somerset Carroll surprises the guests by averring that he would give aid to a female convict reported to have escaped. Later, alone in the library, he is appealed to by a young girl who confesses to being pursued by the police, and he takes her to his own house. There she reveals herself to be Helen Rogers, playing a game with him on the advice of her guests. He then declares himself a crook, holding the real Carroll prisoner, with the intention of robbing the Rogers mansion. She follows and shields "The Magnet" from the police, the real Carroll having escaped and notified them, and through her interference he eludes his would-be captors.

Dir: William P.S. Earle

Whispers are heard in the social circle of Daphne Morton because of her constant association with married man Dyke Summers. One night while Daphne is attending the opera with Summers, his wife spots the illicit couple, a clash erupts, and the account of the affair appears in the scandal sheet the next morning. After a quarrel with her aunt, the humiliated Daphne decides to go to Washington to seek out her father, whom she has not seen since she was a child. There she meets Pat Darrick, a young reporter assigned to the Summers scandal. Unaware that Daphne is the girl in the case, Darrick falls in love with her. Summers also follows Daphne to Washington, and when Darrick sees her with her alleged lover, he is hurt and disillusioned. Daphne finally locates her father in a nearby town, to which Darrick and Summers follow her. Learning the truth, Darrick abandons his job on the scandal sheet for the love of Daphne.

Dir: William P.S. Earle

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

Bradley, who is happily married and loves his family, is called to London on business. There he meets Mercedes, wife of the Spanish Ambassador. The marriage has been forced upon her, and her husband is cruel. Unaware that Bradley is married, she falls in love with him, and he is also infatuated. His better nature finally prevails, and he returns home and is happy until he receives a photograph from Mercedes. On pretext of business, he again goes back to Mercedes, finds there has been a quarrel, and that the ambassador has struck her. She and Bradley go away together, and while crossing the channel, he inadvertently discloses the fact that he is married. Mercedes unwilling to come between husband and wife, flees to a convent, and Bradley, unable to find her, joins an expedition to the forests of South America. Bradley has written his wife that he is a coward. Her health fails and her father takes her and the children for a trip abroad. The children are attacked by an epidemic of fever, and Mercedes, now a nurse, is summoned. She learns the identity of the family, and, when the boy calls for his father, she starts a search for him. After the crisis, Mercedes who has concealed her identity by use of a veil, wins her fight against a renewal of their relations, and warns Bradley, who has recognized her, to keep his wife in ignorance. Recovering from the fever which has now claimed her, she sees the reunited family depart for America, and knows her heart is empty and closed forever to love.

Dir: William P.S. Earle

During World War I, Kervyn Guild, an American citizen who was born in Belgium, is captured with other Belgian refugees by the Germans. Brought before the commanding officer, General Von Reiter, Guild is offered his own freedom as well as that of the other refugees if he goes to London and returns with the officer's daughter, Karen Girard, who actually is his mistress. In the hope of saving lives, Guild consents and is sent to London where he locates Karen. Guild's suspicions are aroused when he notices that they are being protected by the German agents and hunted by the British. His instincts prove correct when he learns that Karen is carrying dispatches to the general. On their journey back, Karen falls in love with Guild and agrees to join the Belgian cause. Before they can escape, the general arrives and demands both Karen and the papers. Guild duels to defend both and fatally wounds the general. In a breach of military ethics, the dying general then gives the lovers his blessings, and grants them a pass to go through the German lines.

Dir: William P.S. Earle

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

Stewart, an art student in New York City's "bohemian" Greenwich Village, lives next door to his girlfriend Hedda, who wants to be a singer. One night while they are dining at their favorite cafe', wealthy Mrs. Trask comes up to them with a proposition: she knows he is an artist and wants to go to Paris to study and develop his talent, and she will pay all his expenses. He refuses because he doesn't want to leave Hedda, but she eventually persuades him to agree. It turns out that she has an ulterior motive--as does Mrs. Trask.

Dir: William P.S. Earle

When Keene McComb, a young explorer on an expedition to the North Pole, is given up for lost, his fiancée, Hester Thorpe, is coerced by an ambitious aunt into marrying Martin Ward, a man of reputed wealth. McComb survives, however, and returns to New York a few hours after the marriage. Later, Hester seeks his protection when Ward strikes her because of her refusal to ask McComb for money, and when it appears that Ward has committed suicide she and McComb are married. Ward is still alive, however, but he meets his death on a rocky precipice.

Dir: William P.S. Earle

To stave off war with a neighboring kingdom, Princess Pat of Paxitania agrees to marry Warburg's King Eric. Still very young and rebellious, the new queen finds it difficult to adjust to court life, and when she accepts an invitation to take a ride with the villainous Count Ladislaus, King Eric's patience gives out and he rebukes her severely. The banished count informs Pat's father, the Grand Duke of Paxitania, that she is cruelly abused, whereupon Pat's three brothers set out to bring her back home. In the end, however, King Eric and Princess Pat come to love each other dearly, and she sends her brothers home reassured of their sister's happiness.