Masterpiece Selection Resonating with the Themes of Walking Back: Cult Guide

Dir: Rupert Julian

Miner Dan Stuyvesant finally strikes it rich, but on his way to report his claim, he is shot. When Jack Dedlow, the head of a gang of outlaws, hears this news, he rides to Stuyvesant's cabin intending to secure the claim for himself. There the outlaws find Stuyvesant's daughter Hilda, the sweetheart of Tom Flynn, and are about to draw cards for her when Dago Sam pulls out his guns and spirits her out the door. Because Tom is his only friend, Sam determines to protect Hilda from the gang, but when Tom suspiciously questions his intentions toward Hilda, Sam decides to live up to the town's poor opinion of him. Hilda saves herself by declaring her faith in Sam and, his spirits restored, he returns her to Tom. Dedlow is killed in a fight at Sam's cabin, and Tom and Sam renew their friendship.

Dir: Rupert Julian

A visual fragment from the archive: The thematic resonance of Mother o' Mine perfectly mirrors the editorial trajectory of our deep dive.

Mrs. Standing, an old-fashioned country mother, sacrifices to put her son John through college so he can have a better life. Upon completing school John goes to the city, where his financial success blinds him to the basic values his mother taught him. During an important social event one evening, Mrs. Standing comes to her son's house carrying wicker basket full of homemade jams. Ashamed, John tells his wealthy fiancée, Catherine Thurston, that the old lady was his childhood nurse. Mrs. Standing overhears her son's deception and goes home devastated. John, remorseful, follows with the firm resolution to devote future years to the care of his mother. Learning the truth, Catherine, accompanied by her own mother, visits the Standings' country home and all is forgiven.

Dir: Rupert Julian

Lucille, a beautiful and romantic young woman, marries John Linforth, a wealthy businessman, who is twice her age, and too distracted by his business affairs to give her the attention she craves. John is pleased when she takes a liking to his young friend, Ronald Standish. After the friendship has grown to romance, however, John tries to keep the two apart. As he is about to depart on a short trip, John orders Ronald from the house. Later that night, Ronald asks Lucille to elope with him, but before they leave, they realize that an illegal union would only lead to unhappiness, and Ronald returns home. A burglar, who, in stealing certain securities from John's desk, witnesses the couple in an embrace, blackmails Ronald into purchasing the bonds. To save her lover, Lucille confesses everything to John, who promises to give his young wife her freedom. A year later Lucille and Ronald marry.

Dir: Rupert Julian

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

In a little town in France live orphan siblings Gabrielle and Anatole Picard. Gabrielle has been a mother to her brother since their own mother died and they are devoted to each other. Their friend is Pierre Dupont, who is in love with Gabrielle. When the call comes to fight for France, the two men join the colors. Gabrielle promises Pierre that if he will watch out for her brother that she will marry him upon his return. In the field, Anatole becomes the bugler of the regiment and during one of the skirmishes he and Pierre become separated from the main division of the army and with them, Peppy, the drummer boy, who dies. So it is that the report comes to the village that the two men are dead. Later the invading army reaches the village. They enter the cottage of Gabrielle and order her to serve them with drinks, which she does, but when they order her to drink a toast against France, she throws the liquor in the officers' face. Years elapse and Anatole and Pierre return to the village. No one knows of Gabrielle's whereabouts, as she was last seen when the invading army entered the village. Their search is fruitless. At last they settled down in the rebuilt cottage. But never does Pierre lose an opportunity to recount the valor of Anatole when the commander of the foe ordered him to give the bugle call for retreat with the promise that he would be spared and instead Anatole had given the call to charge. Thus the enemy was routed. Dissard, an officer of the French government, is at the head of a committee to bestow honors upon those who have done brave deeds. It so happens that the reception which he has planned for a certain officer will have to be abandoned, owing to the hero's death, unless Dissard can find some other one to take his place. The records are searched and it is decided to decorate Anatole Picard. Accordingly he is sent for. Pierre and Anatole decide to march to Paris in spite of the protest of the villagers, but just as they are at the gates of Paris, Anatole becomes so weak that he cannot go further and dies in a peasant's cabin. Pierre goes on alone and receives the decoration from the President and makes a speech which wins the hearts of his audience. He tells them of Gabrielle and the part she had had in making a hero of Anatole, spectators thinking that Pierre is Anatole. Much to his surprise, Gabrielle, now an old woman, enters the banquet room and the two are united. On their way back to the village, she asks where her brother is and Pierre promises to take her to him. They go to the little peasant cabin where Pierre left Anatole and shrouded in the flag of France. Then Pierre decorates the body with the cross which he received for Anatole, as he never intended keeping the honor for himself.

Dir: Rupert Julian

Ex-convict Dale Revenal arrives at Dudley Appleton's ranch bearing a letter of introduction from John Silver, Appleton's old friend. Appleton hires Dale, who, through his winning manner, soon wins the respect of the ranch hands and the love of the ranch owner's daughter Mary Jane. Believing himself unworthy of her, Dale tells Mary Jane that he has a wife and child in Arizona, and she reluctantly agrees to marry Jack Nelda, a local rancher. Nelda realizes that Mary Jane is still in love with Dale and plots with Bessie Dupont and her brother Pinto to kill him. Bessie, however, warns Dale, but when he confronts Nelda at the saloon, Pinto shoots him, wounding him in the shoulder. John Silver comes to Dale's aid and Nelda is killed. Silver reveals that Dale's "wife" in Arizona is really his sister, and Dale finally accepts Mary Jane's love.

Dir: Rupert Julian

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

In the act of robbing a set of rare jewels from a museum, a robber is wounded in the hand. Prentice Tiller, while dressing a wound in his hand, overhears the woman in the next hotel room, Gertrude Temple, telephoning Aaron Molitor, to whom she is to deliver some jewels. Posing as Molitor, Prentice calls on Gertrude but disappears when Molitor, who also has been wounded in the hand, suddenly arrives. Molitor's men capture Prentice, who narrowly escapes death in the ruins of an old church and then continues to track Molitor. Gertrude accompanies Molitor and her uncle, Simon Temple, to Paris, where they are met by master crook Chevat and the woman who loves him, Lola Montez. Lola becomes jealous of Gertrude and tries to kill her, but Prentice rescues her. Through a ruse, Prentice, who finally is revealed as a detective, captures Chevat and his gang, returns the jewels to their rightful owner and then proposes to Gertrude.

Dir: Rupert Julian

Police headquarters has been plagued by a series of robberies, culminating in the theft of a priceless necklace smuggled from Europe. The detectives are on the track of a gang led by master thief Ramon Mordant and his accomplice known as "the Face" because of his twisted and hideous countenance. Among the detectives on the case is undercover agent Clara Hawthorne, masquerading as a mysterious, glamorous woman. The Face and Clara play a cat and mouse game until, while they are both in pursuit of Mordant, the Face secures the necklace and turns it over to Clara, at the same time revealing himself to be Prentice Tiller, chief of the Secret Service.

Dir: Rupert Julian

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

In 19th-century France, wealthy, single young Bettina is pursued by dozens of young men, but she believes that they're interested more in her money than in her and rejects them all. Young Army Lt. Jean Reynaud meets her and falls for her without knowing how wealthy she is; when he finally finds out, he is afraid that, because of her high social status and his low one, he'll be perceived to be just another gold-digger, and his sense of honor won't permit that, so he turns her away. She, however, doesn't want to be turned away, and he finds the tables turned when she pursues him.

Dir: Rupert Julian

A propagandistic view of the First World War, showing the political greed of the German Kaiser Wilhelm, the resistance of some of his own soldiers, and fanciful prediction of the nature of the war's end.

Dir: Rupert Julian

After the death of her father, a young girl goes to live with her uncle in Kentucky. She immediately comes into conflict with her uncle's shrewish wife.