Hand-Picked Alternatives Movies That Echo the Spirit of 'Twas Henry...

Dir: Scott Sidney

Barnard completes a study in oils which he calls "The Resurrection." It represents a beautiful, dark woman, her awakened soul shining from her eyes. At a private exhibit in the studio the painting causes a great deal of admiring comment, and Barnard's mother, a society leader and an art connoisseur, admits to her son that he virtually "imprisoned a woman's soul" in the canvas. The soul of the picture, a few days later, stirs to the depths of her being a sordid girl of the underworld whom Barnard has found in the night courts and persuaded to become his model for "The Fallen Woman." Irene Brock, once she has met the rapt, spiritual gaze of Barnard's ideal, involuntarily revolts against the hideousness of her environment. The trade she has been accustomed to ply in saloon dance-halls and low resorts becomes a torture to her. Day by day Irene watches the new painting grow. But she is changing. Barnard, feeling that something is unsatisfactory, and that he will be unable to paint from his model "The Fallen Woman" of his imagination, reluctantly brings the sittings to a close. The moment of parting precipitates an emotional crisis. Love, for the first time, has dawned in the girl's soul, and Barnard, moved by a profound sympathy, takes her in his arms. The young artist's mother finds them in this position; she diplomatically conceals her horror while smilingly asserting that "that could never be." Irene goes away, struggling to be resigned. But the young artist, fired by a self-sacrificing love, refuses to let this end the episode. At last, the mother seeks Irene in her squalid lodging. "Such a marriage," she pleads with the girl, "would make my son a social outcast. Even your love could not always make him forget." The soul of "The Resurrection" working upon her heart, and controlled also by her deep love for Barnard, Irene promises to cure him of his passion. That same night she deliberately gives herself up to a detective an old enemy of hers. The following morning she sends for Barnard to come to the night court and pay her fine. He goes. She is brought before the judge. To the charge, she replies, "I am guilty." Silently, Barnard puts the money on the desk. Outside, in the corridor, they meet. By sheer force of will, she resists the almost overwhelming impulse to fling herself in his arms and tell him the entire story of her deception. The next instant, with a murmured good-bye, he turns and rushes out of doors. That evening Irene slips into the deserted studio, and stands long before the painting of "The Resurrection." From these wonderful eyes she imbibes strength for her lonely struggle with the world.

Dir: Scott Sidney

A visual fragment from the archive: The thematic resonance of No Parking perfectly mirrors the editorial trajectory of our deep dive.

Husband, wife, baby, and dog arrive in California in a flivver. As they have great difficulty in finding a hotel that will allow babies and dogs, they buy a lot and a portable bungalow. After putting it up they discover that they built the house over the baby, so they tear it all down and set it up again. But just before they move in, a real-estate agent arrives to tell them that they built upon the wrong lot. They put the house on wheels and tow it through the town, but the rope breaks and the house runs wild. After they place it on the proper lot, the inspectors inform them that a building permit is required, and once more the house is knocked down. But during this time the baby was making mud pies out of what turned to be an oil well.

Dir: Scott Sidney

Dorothy is a girl who romantically fell in love with a long haired professor with whom she eloped. "The other fellow" is played by Earle, whose black face make-up at a critical situation almost loses him the girl of his choice.

Dir: Scott Sidney

A visual fragment from the archive: The thematic resonance of Oh, Susie, Be Careful perfectly mirrors the editorial trajectory of our deep dive.

Against the wishes of his woman-hating uncle, Jack married. While on his honeymoon they meet Uncle, and when they're forced to take him home, Jack explains that his bride is only a servant. Uncle, noticing that this "servant" is a very pretty young woman, asks her hand in marriage but is told she is already taken. To carry on the affair, another young man is introduced as her husband, which complicates affairs because this young man has a very jealous wife. A series of alternate lovemaking follows until Uncle discovers the plot and the young married couple confesses their guilt.

Dir: Scott Sidney

The younger of two sisters is sufficiently attractive to steal the other's admirers. To stop this pirating, mother and elder sister conceive the idea of putting the baby vamp into rompers, leaving her a baby, but no longer a vamp. The scheme works well, but the girl is as attractive as a child as she was as a young lady, and the young man in the case is willing to play with dolls in order to be near her. Her real age is finally discovered, but when the couple try the elopement act, the minister orders the child sent back to her mother.

Dir: Scott Sidney

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

The adventures of the leading lady of a "road show," and the other members of the company, with a pair of crooks, at the home of her rich uncle.

Dir: Scott Sidney

The story derives its plot from a practical joke perpetrated by underclassmen at the theological seminary from which Arthur Rayburn has just been graduated. At the reception following his ordination, these jokers put rum in the punch served and Rayburn becomes intoxicated. In this condition he is unfrocked by the bishop and the latter's daughter Rene breaks their engagement. Down into the slums goes Rayburn, where he falls under the influence of pretty piano player Rags in a saloon. Rags tries to redeem him, but makes little headway until she prevents the young preacher's attempt to commit suicide in the river. She loves him without reserve and under her guiding care be recovers from his degradation and opens a club for working men. He is so successful that the enterprise comes to the attention of the bishop of the diocese. The bishop visits the club, recognizes its leader, and promptly reinstates him in the ministry. With his future assured, Rayburn turns in gratitude to the girl of the slums who has saved him. He asks her to marry him but in spite of her love, knowing that he still loves Rene, Rags refuses him and returns to the life in which he found her.

Dir: Scott Sidney

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

A fascinating piece of cinema that shares thematic elements.

Dir: Scott Sidney

Nan is the soda fountain queen in Dead Dog. She is in love with Billy, but she got a letter from a New York lawyer saying that she and her cousin, Hezekiah, a New England school teacher, would have to marry in order to share a bequest of some thousands of dollars. Hezekiah was on his way west and because Nan would lose the money if she turned him down, she conceived the idea of rejuvenating the wildness of Dead Dog to frighten poor Hezey out of marrying her. With the scene all set and Hezekiah duly shocked, Nan made her entry, riding her horse up the steps and into the bar. In spite of his terror, Hezekiah was willing to go on with the ceremony, and just as Nan and he were about to say "I do," Billy made his entry and began to shoot up the place. This was too much for Hezekiah, and he started running, caught the observation platform of a train starting for the east.

Dir: Scott Sidney

Reared by a childless ape, the orphaned heir of the Greystokes becomes one of the apes. Then Dr Porter organises a rescue expedition, and his beautiful daughter Jane catches his attention. Has Tarzan of the Apes found the perfect mate?