The Auteur's Selection Complementing the Tone of Two Men of Sandy B...

Dir: Lloyd B. Carleton

Railroad tycoon Richard Strong discovers that his enemies are scheming to bankrupt him. Strong enlists the help of Charles Dalton, and together they foil the plot. By chance Dalton meets Strong's wife, Elinor.

Dir: Lloyd B. Carleton

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

"The Idler" is Mark Cross, a young man of good family, who in a wild fit of daredeviltry has emigrated from London to the far west. John Harding, also well-born of wealthy parents, but disinherited, and a poor clerk, is also seeking his fortune in the gold fields. One day Harding receives a letter from a firm of London solicitors informing him that his father has died and that he is now Sir John Harding, Bart. He sets out at once to make his preparations for his return to civilization and to take up the station in life that is rightfully his. But that very day he becomes involved in a quarrel with Felix Strong, the young brother of a miner named Simeon Strong, and Felix is shot accidentally during the dispute. Harding is accused of murder, but flees to England in time to escape the vengeance of a posse, headed by Simeon Strong, who is determined to avenge his brother. Years after in London, Harding, who has married the girl both he and Cross were in love with before they emigrated, comes face to face with Cross and Strong, who have become partners and have "struck it rich." In order to win Lady Harding for his own Cross allows the evil side of his nature to get the upper hand of him and plots to have Strong kill Sir John in a duel. Strong slaps Harding in the face in the foyer of the opera house in order that he may involve him in "an affair of honor" and avenge his brother's death by killing Harding. Cross in the meantime lures Lady Harding to his rooms where Sir John comes to seek her. She hides in Mark Cross's bedroom, but reveals herself at a dramatic moment when Harding, shouting "Curse you, I'll kill you," springs at Cross's throat. Her splendid nature, as shown in her denunciation of both men, one as a husband without faith in his wife and the other as the would-be destroyer of a home, overcomes them with shame. They shake hands and Mark, parting forever with Lady Harding, orders his valet to pack his things for he is off "on a long trail."

Dir: Lloyd B. Carleton

Satan has added his last touches to the mortal and feels the "Man" is ready to navigate the road of life. Satan returns to Hell, discovering the spirits have created another mortal. Satan declares this mortal a "Woman."

Dir: Lloyd B. Carleton

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

James Fordham returns home after a 6 months' absence to find that his wife has left him for another man. She returns, asking for forgiveness, but dies shortly thereafter. James swears to avenge her death and sets out to find the man who has wronged her. After changing his name, he discovers that the young girl with whom he is falling in love is engaged to the low fellow who stole his wife. He wins out by proving her fiancé is involved in a crooked business deal.

Dir: Lloyd B. Carleton

Bessie Gale, known in New York night life as "the unattainable," is pursued by Henry Morton, wealthy clubman. Morton follows Bessie across the continent, traveling with the theatrical company of which she is a member. In crossing the Sierra Nevada Mountains the girl is particularly impressed with the scenery, and at a way station where the train stops for a few moments Bessie alights and strolls so far away from the depot she is unable to return in time to board the train when it proceeds. She finds shelter for the night at Robert Goodman's home, intending to rejoin her company when the next train comes along the following day. The receipt of a telegram discharging her for missing her train changes her plans, and Bessie settles down at the Goodman home for a stay of indefinite duration. Robert Goodman's mother takes a great fancy to Bessie and Robert falls in love with her. Finally they are married, but the longing for her old life is never quite stifled within her and Bessie rejoices when she is sent to New York by her husband to negotiate the sale of his formula for preventing disease among sheep that is just then devastating the flocks throughout the country. Bessie collects an immense check and contracts for royalties that make Robert a millionaire, and is about to start home when she accidentally meets some of her former associates. The call of the stage is renewed with resistless vigor when Bessie is offered an engagement by her former manager. Morton hears of her presence in town and renews his efforts to attain "the unattainable." Bessie writes to her husband that she is going back to the stage. Robert senses trouble for her and comes to New York without notifying her. He finds her dining with Morton under conditions any husband would resent, and when Morton is unable to defend himself from the physical retribution Robert rains upon him Morton shoots the husband in the coward's target, his back. The tragedy restores Bessie to a realization of her perfidy and folly; Morton acquires a streak of unheard of manliness and when Robert is taken to the hospital the clubman offers his blood for transfusion to Robert's veins that the life of his victim may be saved. The blood test reveals that Morton's blood would poison the stricken Robert and then Bessie is accepted as a volunteer to give her blood to save her husband's life, an operation that is entirely successful.

Dir: Lloyd B. Carleton

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

The Russian Czar sends his trusted confidant, Michael Strogoff, to warn his brother the Grand Duke of a Tartar rebellion that will be led by Feofar Khan and Ivan Ogareff.

Dir: Lloyd B. Carleton

In the days of '49 some of the aristocracy of old California contrived to gather unto themselves more than their share of the precious yellow metal which abounded. There were those among the populace who resented this state of affairs. Luis Lopez was one. Smarting under the yoke of the aristocracy, Lopez determined to champion the cause of the people. Accordingly, he set about to enlist the aid of others and chose Jose Garcia for an ally. Jose finally agreed to wage a campaign against Don Ortega and Don Mendoza. Jose set out for the home of Don Ortega, whom it was agreed that he should rob. Lopez chose Don Mendoza as his prey. It was agreed between Lopez and Jose that the gold which they hoped to gain would be devoted to the uplift of the oppressed. Jose's destination lay across the desert. Stopping to slake his thirst, he was horrified to find that he had lost his canteen. He found instead a crucifix which his priest had secreted in his pack-saddle. Tearing it off, he flung it with anger into the sands and passed on. Senor Arrelanes, another aristocrat, with his daughter Carmen were traveling in the same direction, intending to visit their cousin, Don Ortega. They found the crucifix and later came upon Jose, exhausted. They bore him to the home of Don Ortega, where Carmen nursed him back to health. Lopez reached the home of the Don Mendoza and asked for lodging. In the night he crept into the living room and stole the bags of gold which his hosts had deposited in a chest. Surprised by Mendoza'a wife, Lopez set upon her. Mendoza came to the rescue and drove Lopez out. Jose had fallen a willing victim to Carmen, and vowed to himself that he would not be guilty of robbing those who had befriended him. He set forth on his return to Santa Barbara to meet Lopez. Lopez threatened that he himself would take the money. During the night Jose stole Mendoza's gold from beneath Lopez's pillow and hastened away to warn Ortega. Discovering Jose's absence, Lopez quickly gave pursuit, vowing to kill the traitorous Jose. Jose arrived in time to warn Ortega so that when Lopez arrived he fell into the trap laid for him. Carmen at last prevailed upon Lopez to forsake his evil ways. And so when Carmen had yielded to the pleadings of her impetuous lover, Jose, Lopez stood nearby to share their happiness, and later returned to Santa Barbara, there to spend the remainder of his days with the gentle priests at the Mission.

Dir: Lloyd B. Carleton

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

Jack Frobisher, a sheep farmer in Queensland, has returned to England a millionaire, bought his way into the inner circle of Vanity Fair, married the daughter of a marquis, and settled in Mayfair, with a country house outside, a shooting box in Scotland, and a yacht on the "Solent." Having accepted the patronage of a titled family, he is forced to lend money to his father-in-law, and having fallen in love with a society woman, he becomes a witness of the vacuous amusements of the smart set. He settles her score when she is a very heavy loser at bridge and watches her flirtations with fashionable idlers in general and with a contemptible rake, Harry Dallas, in particular. The return of Hanky Bannister, one of his Australian pals, and a millionaire like himself, opens the way for a patrician intrigue for the enrichment of the marquis' family by the marriage of Lady Lucy Derenham. Frobisher is unable to interest Eva, his wife, or her relations in his schemes for making a good use of his money in the erection of sanitary dwellings in the East End, and he is disgusted with the tendencies of fashionable life and anxious to keep his friend, Bannister, out of a marriage similar to his own. A sympathetic friend Lady Westerby, tells him that she is disappointed in finding him so tame a bear, and assures him that he has only to shout and the walls of Jericho will fall flat. At the marquis' house during a ball, and a game of bridge in Lady Alethea Frobisher's boudoir, during which one of her titled players cheats, wins a lot of money and suddenly discovers that he has an engagement and must go. The most serious flirtation of the smart wife ends in a declaration of love by Harry Dallas, which is interrupted by the gloomy, serious husband. The trumpets of rams' horns are blown, and the Australian shouts before the Jericho of smartness. The battle opens when Frobisher insists upon helping the titled brother-in-law to marry a girl whose honor his been compromised and to make a fresh start in the colonies. The Marquis is angry over the Australian interference with family coat of honor, and Lady Alethea attempts to reduce the rebel to submission by sarcastic flings at his tiresome virtue. The trumpets sound again when Frobisher attempts to prevent a marriage between his sister-in-law and the infatuated Bannister by telling him how heartless and mercenary she is, and there is another blast when the rake, Harry Dallas, is compelled to read to the indignant husband a love letter written to the wife. The Walls of Jericho are rent asunder and thrown down when Frobisher announces that he will sell his property in England and go back to Queensland with his wife and child. The welkin rings when this social Joshua guarding the ark of the covenant of manhood shouts in trumpet tones, "I have enough of these companions of yours, these wretched sexless women who do nothing but flirt and gamble. I've had enough of their brainless, indecent talk, where everything good is turned into ridicule and each word has a double meaning. I've had enough of this existence of ours, in town and country, where all the men make love to their neighbors' wives. I'm done with it. done with it all." Furious as is the onslaught, Lady Alethea offers stubborn resistance and refuses to surrender. Later, with the mediation of Lady Westerby, before a reconciliation can be effected and Frobisher enabled to carry her off to Queensland. By that time the Walls of Jericho are indeed fallen flat.

Dir: Lloyd B. Carleton

August and Hilda are recent immigrants who cannot understand the American emphasis on weddings, because in their country, couples never get married. Fearing that he will be arrested for living with a woman who is not his wife, August stows away on a ship and dies in a wreck at sea. Afterward, Hilda tries to commit suicide, but rich Esther Grail saves her, and then adopts her infant son Stephen. Years later, Esther tells him the circumstances of his birth, and so Stephen goes on a crusade for the rights of illegitimate children. He is soon elected governor, but during his inaugural speech, a fanatic tries to shoot him. Hilda, however, not having seen Stephen for years but deciding to come hear him speak out for the underprivileged, sees the madman and, jumping in front of her son before the bullet hits him, dies in his place.

Dir: Lloyd B. Carleton

Hazel Rogers, a young girl eighteen years old and heiress in her own right to millions through the death of her father, falls in love with Hamilton Powers, the District Attorney. Powers is cold, calculating, indifferent, wrapped up in his law; attentive to Hazel, but in love with Christine, a trained nurse and a school friend of Hazel's and she, too loves Powers. Hazel's mother, Mrs. Albert Rogers, lives with Hazel. Dr. Joel Samson, the famous surgeon, forty-two years old, warm-hearted, upright, respected, loves Hazel, who is his ward. He is guardian of her millions until her twenty-first birthday, and in the event of her death, previous to her twenty-first birthday, sole heir to her estate. Hazel eventually marries Powers, very much against the wish of Dr. Samson, with the usual result. Powers failing in his request to Dr. Samson to obtain the management of Hazel's money, becomes morbid, indifferent, cold to Hazel and after a few months of married life he leaves her in her magnificent home on Long Island and goes to New York City to better practice his law. Mrs. Preston and Morgan Keith, two hangers-on, are at this time visiting Hazel in her home. One day Powers comes down from town and sees Hazel have a scene. Hazel, desperate, goes out alone for a spin in her auto. Driving too fast, she meets with an accident and is thrown violently out. Her back is fractured. She is brought home a helpless, hopeless invalid. Her suffering is intense. Dr. Neighbor attends Hazel. Christine nurses her. One night in her agony she begs Dr. Neighbor to put her out of her misery. Christine, heartbroken, and almost distracted with love and agony for her suffering friend, administers an overdose of morphine. Hazel never awakens. Dr. Neighbor finds the hypo needle which Christine has left on the table. He puts it in his pocket. He knows. Powers' dislike of Dr. Neighbor causes him to investigate, and the doctor is accused. Dr. Neighbor keeps silent. At the trial Christine confesses all and Dr. Neighbor is freed. Dr. Neighbor later gives his life for a patient.