Top-Tier Alternatives Exploring the Legacy of Women's Weapons: Cult...

Dir: Robert G. Vignola

A professional burglar has taught his daughter the tricks of his trade, and she learned well. She's proud of her "career", but one day an unidentified man saves her from drowning, and the close call makes her think about changing her life. However, her father has a big heist he wants her to help him with: stealing a string of valuable pearls that an important politician is going to give to his fiancée. She reluctantly decides to help her father with the burglary, but an unexpected turn of events could result in her going to prison for something she didn't do.

Dir: Robert G. Vignola

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

After their wedding, Richard Vaughan and his wife Courtney take up residence in Richard's ancestral home. Courtney, despised by Nanny, the old housekeeper, and neglected by her husband, who buries himself in his chemical experiments, leads a lonely life. Consequently, when experimental chemist Basil Gallatin pays a lengthy visit to the Vaughan home, Courtney finds herself attracted to him. One day, during Richard's absence, a burglar alarm places Courtney and Gallatin in a compromising situation. Witnessing their embrace, Nanny is struck speechless, but when Richard returns she recovers her speech and gives damning evidence against Courtney. Gallatin flees, and Richard, realizing his culpability, gives his wife a divorce. Having read of the divorce, Gallatin returns and Courtney admonishes Richard to kill them both. Richard frightens Gallatin away with the threat of exploding one of his compounds, but Courtney defies death and remains. A reconciliation between husband and wife then follows.

Dir: Robert G. Vignola

Young Frank Stratton, the scion of a wealthy family who is temporarily short of funds, has borrowed a valuable bracelet and hasn't returned it to its owner. A crooked detective, Jim Foley, finds the bracelet in Stratton's possession and promises not to arrest him for it in return for Stratton signing a confession that he stole it, which Foley intends to use at a future date. Years pass and a political boss in danger of losing an election asks Foley's help in getting valuable papers from his opponent, Worthington Lawrence. Foley knows that Lawrence is a friend of Stratton and tells Stratton that unless he steals those papers Foley will make his signed confession public. Complications ensue.

Dir: Robert G. Vignola

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

Anna, who lives with her harsh-tempered aunt, eagerly seizes the opportunity to join a traveling repertoire company. The girl and Darnton, the "villain" in the company, become deeply interested in each other, and because of Anna Darnton conquers his terrible craving for liquor. Later, when the troupe disbands in New York, Anna meets Rita. The girl makes the acquaintance of Marbridge, an agent of the worst type, and only her wit saves her from the man's clutches. Following a quarrel with Darnton, Anna foolishly consents to go autoing with Rita and the fast set with which the latter associates. The auto hurtles over an embankment and Anna alone escapes death. A reconciliation with Darnton follows. Anna obtains a position in the company in which Darnton plays the villain. The girl receives her great opportunity when the star, whom she is understudying, is injured on the opening night. Enwright, the manager, learns of the love between the new star and Darnton. Fearing lest sentiment affect their work, he sends Darnton to head the Chicago company. But the separation depresses Anna so greatly that Enwright orders Darnton to return. The player comes back unknown to Anna and suddenly appears before her at the next performance. The ensuing scene thrills the audience, which never for a moment suspects that the heroine and the villain are secret lovers. But the moment the curtain has descended Anna walks into Darnton's arms. Her lips meet his.

Dir: Robert G. Vignola

Dick, who thinks Elsie is a farmer's daughter, and Elsie, who believes Dick to be a hired man, fall in love with each other. While returning from a trip to the city shortly afterwards, Dick accidentally exchanges traveling bags with Spike, a burglar, on his way to rob the Dunbars' summer home. Pinkarter, a detective, witnesses the incident and trails Dick. Late that night, the young man sees Elsie apparently breaking into a cottage. The girl had accidentally been locked out of the farmhouse where she had been stopping, and therefore decided to return to her father's country home nearby. Ignorant of this, Dick believes Elsie a thief and follows her into the house, Spike also gets inside, and the three are presently bagged by Pinkarter and lugged to the village lockup. In his effort to establish his identity, Dick requests the detective to examine his travelling bag. When this is done, a fine collection of burglar's tools is brought to view. Thus Elsie is led to think her lover a thief. Although Dick eventually clears himself, this comes too late; Elsie's identity has been established by her father, who then took her home. Still in ignorance of each other's identity, the heartbroken lovers return to the city. Some time later Dick accompanies a friend to a dinner given at the Dunbar's home. To his intense surprise, the boy finds himself confronting Elsie. Still believing him to be a burglar, Elsie shouts for help. Dunbar is about to hand the luckless youth over to the police when the snarl is untangled, and the course of true love allowed to run smoothly.

Dir: Robert G. Vignola

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

A Russian refugee who masquerades as Zara, niece of Francis Markrute, comes to his home and marries Lord Tancred, a scion of the English nobility, after a long series of misadventures she makes a full confession to her supposed uncle and to her husband regarding her origin and her young son by a former marriage to a Russian prefect of police, whom an infuriated mob murdered for his cruelty. Tancred is stunned, but only for a moment. Overwhelmed with forgiveness he avows his undying love.

Dir: Robert G. Vignola

Lester, returning from Mexico, becomes interested in Helen, a girl whose life he had saved. Helen, according to her uncle, Vanderhoff, is insane. Dr. Luchow, Lester's friend, confirms Vanderhoff's statement. Upon returning home, the author finds that the Vanderhoffs have rented the adjoining cottage. The writer sees Helen drop a note. Picking it up, he finds the paper blank. Lester's window faces Helen's window. That night, the girl informs him in pantomime that the note contains a message written in milk. Scorching brings the message into view. As the result, Lester learns that Helen is the victim of a foul plot on the part of her uncle who desires to obtain her fortune. The girl drops a notebook which contains the details. The author is thus informed that Vanderhoff, by keeping his niece drugged with a loco weed preparation, succeeds in fooling the physicians who examine her. Lester breaks into the Vanderhoff house the following morning. He is discovered by Jose, who knocks the author unconscious and places him in the room above the dining room. Vanderhoff hastens his preparations to place Helen in the insane asylum. Dr. Luchow calls for the purpose of preparing the papers. Lester, using the top of a ventilator, saws away at his bonds. The blood from his bruised hands drips down upon Luchow's paper and the doctor soon becomes aware of what is going on. Jose attacks Lester just as the latter gains his freedom, but Dr. Luchow's timely arrival saves his friend. The Mexican and Vanderhoff endeavor to make their get-away in an auto, but an explosion, which wrecks the machine, ends their villainous careers.

Dir: Robert G. Vignola

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

Valerie St. Cyr, seizes a chance for excitement and money, deserts her infant daughter Joan and her impoverished husband and runs away to Paris with the Count Du Poissy. Years later, without knowing that they are mother and daughter, both Valerie and Joan fall in love with artist Julian St. Saens, who rejects the former but becomes engaged to the latter. Enraged, Valerie convinces the count to kidnap Joan, but after she is captured, Joan stabs the count to death. When Valerie learns that Joan is her daughter, she takes the blame for the murder and goes to the guillotine while Joan, still unaware that Valerie is her mother, makes plans with Julian for their marriage.

Dir: Robert G. Vignola

A humble orphan suddenly becomes a gentleman with the help of an unknown benefactor.

Dir: Robert G. Vignola

One moment before she dies, the aged, philanthropic, and universally respected Duchess of Maldon sees her life flash before her. As Madge, a young gypsy woman, two men fight for her, after which the winner, John, forces her to marry him. Then Madge deserts John and begins a romance in England with Harold, the youngest son of the Duke of Maldon. Soon, however, Harold fights with his older brother, who has criticized the affair with a married woman, and, believing that he has killed his brother, Harold leaves Madge behind and smuggles himself out of the country. Years later, Harold, who has found out that his brother did not die, meets Madge once again, and, determined not to let him leave her a second time, Madge kills John so that she and Harold can marry. Successfully covering up past scandals, Madge and Harold begin a life so sedate and distinguished that they quickly become England's model couple.