Recommendations
Senior Film Conservator

Looking back at the 1919 milestone that is Two A.M., the specific artistic bravery of this work is a gateway to a broader cult world. Our archive is rich with titles that mirror the artistic bravery of Al Christie.
As Al Christie's most celebrated work, it defines to create a dialogue between the viewer and the artistic bravery.
Two A.M. was a significant production in United States, bringing a unique perspective to the global stage. It continues to be a top recommendation for anyone studying cult history.
Based on the unique artistic bravery of Two A.M., our vault has identified these titles as the most compelling follow-up experiences for fans of cult cinema:
Dir: Al Christie
Bobby, a clerk, is sent on a hurry trip by his boss to deliver a $5,000 check to Mr. Brown. Bobby meets a girl while on the train. At the junction they miss another train, wait three hours, arrive at the home of Brown - and then the plot deepens when another plot in the making makes it appear that the girl is Brown's wife.
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Dir: Al Christie
Alice undertakes to present an amateur performance at the local small town opera house. After turning down Ibsen, Shaw, Oscar Wilde and Shakespeare, Alice decides the only way to get a good play is to write one herself.
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Dir: Al Christie
Jay made the fatal error of trying to make his wife believe that he had all the money in the world.
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Dir: Al Christie
Bobby had been instrumental in having Dorothy Invited to a weekend party that he might propose to her in ideal surroundings. There were other chaps in the competition, however, and Dorothy was a bit coy when Bobby tried to monopolize her society. In fact, she seemed more than willing to have the other fellows do the monopolizing. Sympathetic girl friends of Bobby told him that the slogan of the tanks, "Treat 'Em Rough," was the proper rule in love making - and so Bobby tried it. He kidnapped Dorothy in a motor, drove her to the mountains and forced her by wielding the "cave man's club" to don tiger skins as dress and submit to his commands. That Dorothy liked the idea was evident when the entire weekend delegation followed them forthwith to the mountain cave, bringing along a minister to tie the knot.
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Dir: Al Christie
After Eddie Plum discovers oil on the family ranch, he and his widowed mother move to the city where they meet Lord Burlington, a British fortune hunter. Burlington introduces the Plums to two socialites, Mrs. Van Zant and Betty, her daughter, and while Burlington woos Mrs. Plum, Eddie falls in love with Betty. A double wedding is arranged, but on the day of the ceremony, Mrs. Plum announces that the deed to her land has been stolen and without it she has no claim. Devastated by the news, Burlington requests a postponement and leaves. In spite of the apparent disaster, Eddie and Betty elope while Mrs. Plum, hurt by the Lord's sudden departure, plans to return to the country. Realizing that his affections for the widow are genuine, Burlington asks for her forgiveness and insists on the marriage. Her faith restored, Mrs. Plum reveals that the stolen documents were fakes, and that her oil millions are safe.
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Dir: Al Christie
On the strength of father's promise of a $10,000 check to the happy bride and groom, a truckload of furniture arrives with which newlywed Mary desired to furnish a city flat.
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Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
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Dir: Al Christie
A fascinating piece of cinema that shares thematic elements.
View DetailsAnalysis relative to Two A.M.
| Film Title | Atmosphere | Complexity | Similarity |
|---|---|---|---|
| Three Hours Late | Gritty | Layered | 87% Match |
| Shades of Shakespeare | Tense | Abstract | 97% Match |
| Tell Your Wife Everything | Tense | Dense | 89% Match |
| Some Cave Man | Ethereal | Layered | 91% Match |
| Mrs. Plum's Pudding | Gothic | Abstract | 88% Match |
This guide was algorithmically generated using the cinematic metadata of Al Christie's archive. Last updated: 5/21/2026.
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