Top-Tier Alternatives In the Shadow of Tough Guy: Cult Guide

Dir: Chester M. Franklin

The Japanese emperor's son Hanki Pan (Francis Carpenter) is in love with beautiful Fan Fan (Virginia Lee Corbin) and determined to marry her, although his father has decreed that he shall wed the Ancient and Honorable Lady Shoo, an ugly hag. Hanki Pan and Fan Fan elope and find employment as entertainers at the Wisteria Gardens. However, Lady Shoo and Fan Fan's rejected suitor, the Chief Executioner, follow in close pursuit and soon catch the young lovers. The Executioner plans to behead Hanki Pan, but when the emperor discovers the plot, he orders the villain to choose between the sword and marriage to Lady Shoo. Hanki Pan and Fan Fan are reunited, while Lady Shoo is happily wed.

Dir: Wilfred Lucas

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

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: 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.

Dir: Chester M. Franklin

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

Katie Standish is the family drudge on a New England farm. Her elder sister "enjoys" poor health and her mother sees to it that Katie not only does her own work but that of the weak or lazy Priscilla. Oliver Putnam, a husky young farmer lad, comes courting Katie, but her parents interfere so much that he is discouraged. Oliver finally goes to Mexico with Ben Standish, uncle of Katie and Priscilla, who owns a valuable mine there. Priscilla marries Caleb Adams, a young man who bought a farm adjoining that of Standish. Father and Mother Standish die and Katie goes to live with her sister. Soon she is doing all the housework, and as Priscilla rapidly becomes the mother of seven, each and every one of them is turned over to Katie's care. Then Priscilla and her husband are killed by an express train while driving to the city. Then Katie must teach school to help keep the wolf from the door. She writes to her uncle, telling of her sister's death and how the care of the children had fallen to her. The uncle invites her to bring the motherless brood with her and they can all make their home with him in Mexico. Oliver Putnam is expecting Katie, but the information about the children has been withheld from him. He is overjoyed when he sees Katie step off the train, but is flabbergasted when he sees the many children--only the first time the children get between Oliver and Katie, and Oliver comes to resent them. He sees two of them fussing and spanks one of them; Katie catches this and gives him a scathing rebuke. Then she happens to hear him tell Dan that he hates children; this lands him squarely in her bad graces. Uncle Ben likes the youngsters. He shows them how a series of guns in their little home could be discharged at once by pulling a lever and how a mine around the house could be discharged in a similar manner. He is careful to lock the room where the weapons of destruction are placed, but one of the children finds out where he has hidden the key. While Katie and Oliver are away on an errand of mercy, Mexicans attack the little house. The children are all there but one. The missing one happens to be outside and escapes to the road, where he is saved by a cowboy who goes after help. Meanwhile the children defend themselves by discharging the guns and firing the mines as their uncle had shown them. Katie and Oliver have a desperate fight when they are attacked by another band of Mexicans, but hold them off in a deserted cabin, till the cowboys rescue them. Oliver can't help admiring the brave way in which the children have defended the house, and is grateful also for the fact that the silver under the floor has been saved from the Mexicans. So Oliver and Katie forget their differences and make a home for the children in a mansion in the United States.

Dir: Chester M. Franklin

Roy Somerville has turned out an interesting story that will hold the interest of the majority of audiences as produced by the Triangle-Fine Arts Company. It is a five-reel feature produced under the direction of C.M. and S.S. Franklin,. Norma Talmadge stars as Cora, who is wed to Arthur Vincent (Eugene Pallette); they have two children. Vincent is a bank president's son who devotes much of his time to cabaret dancer Jane Courtenay, who is willing to have him devote his time to her as long as he is a good provider. The wife, who has been sadly neglected, turns to her sister, who is wed to young detective Fred Brown. His brother Charles, who works in the elder Vincent's bank as a cashier, lives with them. He was Cora's first love and has never quite recovered from the fact that she jilted him to wed Vincent because of his money. The cabaret dancer makes several demands on the young Vincent, who tries to borrow money from his father to meet them; failing to receive the loan, he agrees to help several friends of the cabaret charmer rob his father's bank. After the robbery Charles Brown is accused of the crime and arrested. But the robbers are discovered in their hiding place, and in escaping all but one is killed. Cora is left a widow and the natural supposition is that she and Charles were happily married afterward. Just where the title comes in is hard to say, but the picture, while not one of the best that has been produced at the Fine Arts, is one that will get by because of its great appeal to women.

Dir: Edward LeSaint

A visual fragment from the archive: The thematic resonance of Let Katie Do It perfectly mirrors the editorial trajectory of our deep dive.

When famous opera singer Elinore Duane undergoes an operation on her throat, she has a series of ether-induced visions. In one, she is transported to ancient Rome where she appears as a much-admired woman in love with Paul, a young heretic, and at odds with Lutor, the high priest. To save her love, she poisons Lutor with her ring. After several other visions which involve variations on this love triangle, Elinore awakens to discover that Lutor is actually her doctor, Sascha Jaccard, and that Paul is the son of a friend who has come to visit the recovering prima donna.

Dir: Alexander Butler

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

Dir: Chester M. Franklin

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

A young woman and her six little brothers and sisters are left orphans by the murder of their father over gold found on his ranch. Together the seven offspring fight against their greedy neighbors to keep what is rightfully theirs.

Dir: Chester M. Franklin

Ali Baba, a poor Turkish wood chopper, discovers that a robbers' cave, concealed in the mountains that surround his house, opens to the magical phrase, "Open Sesame." Learning that the cave is filled with stolen treasure, he takes home as much as he can carry, but his greedy brother forces him to reveal the cave's location. After gaining admittance to the cave, Ali Baba's brother is seen by the thieves and killed. Meanwhile, Ali Baba falls in love with Morgianna, a slave girl forced to dance in the local inn, and by securing her freedom, he wins her love and loyalty. The leader of the band of robbers suspects that Ali Baba knows the secret of the treasure cave, and in the guise of an oil merchant, he visits Ali Baba with his forty thieves concealed in oil jars. When Morgianna discovers the robbers, she fills the jars with boiling oil, thereby killing them all. Ali Baba defeats the robber chief in combat and then marries his beautiful Morgianna.

Dir: Bruno Ziener

A fascinating piece of cinema that shares thematic elements.