The Global Archive For Devotees of What Will People Say?: Cult Guide

Dir: Alice Guy

Robert, a poor artist, has a vision of a wonderful Madonna. He seeks a model vainly, until he meets, accidentally, the beautiful Lucille, a woman of the demimonde. She is drawn to the shabby artist, and forsaking her fashionable acquaintances, goes to pose for him. The two fall in love and Robert paints a wonderful picture of the Madonna, using Lucille as his model. Unknown to Robert, Lucille persuades an art merchant she knows to purchase the picture, which speedily brings Robert fame and fortune. The artist and his model are married, but with the access of wealth Robert grows cold in his devotion. Robert meets the Baroness, a woman of the world, who comes to sit for her portrait, and spends most of his leisure with her. Later he meets the Baron, her husband, who has known Lucille before her marriage, and is delighted at Robert's interest in his wife, to whom he is quite indifferent, because he thinks he can thus win Lucille's affections. Robert comes to keep an appointment with the Baron at his house and finds him lying dead in the hall, having just been killed by a workman whom he had wronged. He picks up the knife with which the crime has been committed just as the Baroness and her servants enter. Convinced that he is responsible for the death of her husband, the Baroness accuses Robert. He is convicted and sentenced to life imprisonment. Lucille, whose devotion to Robert remains undiminished, and who resolutely believes in his innocence, becomes a charity worker, devoting her wealth and talents to the poor. A dying workman confesses to her his guilt in the death of the Baron and Lucille takes his deathbed statement in the presence of a notary and the police officials. Robert is freed, but does not seek his wife, believing that she no longer cares for him. Broken in spirit, he goes to the church for consolation, where his painting of the Madonna is hung, seeking solace for his hungry heart in viewing the portrait of Lucille. There the two meet and are reunited before the Madonna.

Dir: Alice Guy

A Parisian doctor, infatuated with the wife of his benefactor, drugs and kidnaps her, and tries to convince the husband that she is dead.

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

Dir: Alice Guy

The story revolves about a young woman who is forced to enter the Russian Secret Service on the threat that if she did not do so her father, an active Nihilist, would be put to death. Before her own eyes he is tortured in the prison and to stop these inhuman tortures, she falls in with the plan to rout out the Nihilist organization. In the furtherance of their designs, the Secret Service authorities introduce her into the home of Prince Cyril, who is suspected of being in sympathy with the Revolutionists. She unwillingly does her task, which is made very easy by Prince Cyril's admiration for her personally and his sympathy with her father's plight. He introduces her into his circle of radicals, but before very long a dramatic scene develops that places her under suspicion. During a meeting of the radicals, she disappears in the secret recesses of their subterranean meeting-place and the most vigorous search for her proves of no avail. After the meeting breaks up and the conspirators leave in a spirit of unrest, she emerges from her hiding-place in a well and guided by an image of her father suffering in his prison, she purloins evidence for the Government. In the meantime, Prince Cyril, guided by traces she had left, follows her to her home and persuades her to return the incriminating papers. However, when Government officials arrive and are told that she had been unsuccessful in her attempt to aid them, her servant, who is spying on her, betrays Prince Cyril's visit. They bind her and leave her in charge of two soldiers, while the others in haste gallop off after the Prince. In the meantime, one of the soldiers, who is secretly in league with the Revolutionists, aids her in making escape. Prince Cyril, after a very sensational chase, is captured and imprisoned. With the aid of this soldier she is able later on to meet the Government General, who, completely disarmed by her innocent charms, falls a victim to her scheme to liberate her father and the Prince. However, before she succeeds in this plan, she undergoes considerable suffering and agonizing suspense. The Cossacks trace her and those whom she had liberated from prison to their subterranean hiding-place, but by vigilance and careful planning they make their escape to America after blowing up their former abode with bombs planted by the Russian soldiers.

Dir: Alice Guy

Norma, a dancer, receives many presents from admirers. Among them she finds a peculiar looking box, out of which spring several poisonous snakes. Nelson, a detective, is called upon to solve the mystery. On the box he finds a peculiar trademark, which he seizes as a clue. At his home he finds the same odd mark on an ashtray bought by his mother in a Hindu curio shop, and he learns that the box containing the snakes was purchased by a Hindu woman. Calling upon the woman, he is surprised to find himself in the home of a Priestess of Buddhism. The Priestess tries to fascinate him with her beauty and, not succeeding, drops a powder into an incense burner, the fumes of which begin to throw him into a stupor. He fights his way to a window, blows a police whistle, and is attacked by three giant Hindu attendants. But the police arrive in time to save his life, and the Priestess is arrested and thrown into prison. The dancer, Norma, is attracted to Nelson by his bravery, and they become friends. Meanwhile, the Priestess succeeds in working a psychic miracle in which she goes into a trance and, while her earthly form remains in prison, her soul is freed and appears before the horrified detective in his study. His nature is changed immediately by the Priestess's mystic influence, and his face becomes the face of a hardened criminal. Changing his clothes for one of the rough suits used in his detective work, he visits a den of crooks and aids them to rob a bank, the plans of which he has been entrusted with in his professional capacity. Later he is called to the bank to investigate the robbery and, not knowing of his dual personality, makes every effort to find the man who had committed the crime. He finds his own scarf among the scattered papers taken from the safe. A threatening letter, which he receives from the followers of the Priestess, is seen by Norma, who is so greatly concerned for his safety that when he asks her to marry him, she quickly consents to an engagement, so that she can do all in her power to protect him. His old mother is puzzled by seeing him leave his own house through the window, when he is again visited by the spirit of the Priestess and influenced to aid the same band of crooks in the robbery of his own home. When his real personality returns, he finds himself in his own office, where he has been discovered by his mother, sleeping in a chair, dressed in his old clothes. Upon discovery that his house has been robbed, he calls the chief of police and is seen by the companions of his criminal personality, who thinks that he is acting as an agent of the authorities merely to place them in the hands of the law. When he is again transformed toy the spirit of the Priestess and returns to the thieves' den, they regard him as a spy and plan to do away with him, leaving him bound and gagged in the care of an old hag, while they celebrate his capture. But Norma, who, with his mother has been watching him, follows him to the den of thieves and, overpowering the old woman, helps him to escape. Meanwhile, the followers of the Priestess succeed in rescuing her from her prison cell and are speeding away in an automobile when Nelson, who still retains his criminal personality, asks them to assist him to escape from the crooks, who are closely upon his trail. Thus, he unwittingly places himself and his fiancée in the power of the Priestess, who makes them prisoners in a temple of Buddha. Norma faints, and when Nelson's real personality returns, he finds himself bound hand and foot in the temple. Norma quickly explains the situation to him and, by burning the ropes that bind his wrists with the fire in the incense burner, he frees his companion and makes his way to the roof by the aid of a heavy chain from which a large oriental lamp is swung from the ceiling. He succeeds in helping Norma to the roof by the same method and they reach the ground with the aid of a large tree. The chief of police, who has been summoned by Nelson's mother, overtakes the crooks and arrests them after a desperate struggle. But the Priestess cheats the majesty of the law by the aid of a poisoned ring with which she does away with herself during one of her wild fanatical dances. Her death marks the end of her influence over Nelson, and he at last feels free to marry Norma.

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

Dir: Alice Guy

Young Martha Redmond, a poor girl from a small town, leaves to find a singing career in New York City. She doesn't find success as a singer, but finds a job as a model for a prominent artist, and soon becomes his mistress. When her lover throws her over to marry the daughter of a wealthy man, she becomes a "fallen women", a plaything for wealthy playboys. She meets Barrett, a millionaire's son, and begins to wonder if she might have a future with him, but it seems like he'll turn out to be just like "all the others".

Dir: Alice Guy

A family drama centered on the domestic life of a couple named Manning. The story explores the stability of their marriage and the challenges they face within their social environment during the early twentieth century.

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

Dir: Alice Guy

A young girl is trying to live an honest life in a crooked city. Caught up with a crook that might be the son of a millionaire and other crooked people, she must attempt to reform things, or at least one person.

Dir: Alice Guy

Farm girl Dorothy Miller dreams of becoming a writer, much to the chagrin of her old-fashioned father, who believes that a woman's place is in the home. While in the fields one day, Dorothy meets a young artist who has come to the country to paint landscapes. Attracted by her beauty, the artist urges Dorothy to visit him in the city. After his departure, Dorothy decides to run away to the city in order to realize her ambitions. There she and the artist fall in love and Dorothy becomes one of a settlement of artists residing in the Latin quarter where she writes the story of her experiences. The book, with accompanying illustrations by the artist, is accepted by a well-known publishing house whose head is the father of the artist, estranged from his son because he insisted upon pursuing a career in art. As he reads Dorothy's book, and later as Dorothy's father reads his daughter's book, both parents come to understand the motivations of their children and reconciliations are effected.

A visual fragment from the archive: The thematic resonance of The Heart of a Painted Woman perfectly mirrors the editorial trajectory of our deep dive.

Dir: Alice Guy

Two old fishermen sitting outside of their cabin see a boat at sea on fire. They rush to the life-saving station and report what they have seen. The ship is destroyed and the passengers are lost with the exception of a little boy. One of the old fishermen, who has a little girl the boy's age, decides to adopt him. The children become very fond of each other. Ten years later a New York lawyer comes to the fishing town and wants to adopt the child, but the boy is old enough to decide for himself, and does not want to go. The case is brought to court and it is decided that the child remain with his adopted parents, but that they place the money in the hands of a banker and the guardianship of the lawyer. Not very long afterward the banker is on the verge of bankruptcy and borrows from the boy's money. He has no means of returning it and decides to sell the boy some worthless stock in an unformed corporation. On his visit the banker falls in love with the young girl, now grown to be a beautiful young lady. The boy becomes jealous and seeing the banker kiss the girl fights with him on the edge of a cliff, from which the banker, who is not badly injured, falls. The boy, repentant, helps the banker to his father's house. The girl falls in love with the banker and elopes with him, but he soon neglects her for his gay companions and she returns to her father's home. The banker plans a robbery upon his own bank and is aided by crooks, who dig a tunnel under the bank and enter through the floor of the office. But the banker has already taken the money his confederates seek and flees to the fishing village where his wife is living with her parents. He is followed by the crooks, who trap him into giving them the stolen money. Having been seen by his wife's people, he takes the clothes from a body which is cast up by the sea, placing his own suit upon the unfortunate victim of the waves and placing a suicide note in the coat pocket. He tracks the crooks to a dive in the city and attempts to recover his stolen wealth, in a spectacular fight he follows one of his assailants down a fire rope from the window of a tall building, grappling with him in mid-air. The terrific struggle which ensues ends by the banker plunging headlong to the street below, thus ending his miserable career. The boy and girl live and love, as in their childhood, down by the sea.

Dir: Alice Guy

A young boy hears wondrous tales of London, where the streets are paced with gold. He leaves his country home to see his fortune in London.