As a reporter, Dick Farrington is sent to cover an assignment that promises a big story. A lawyer has advertised for an ex-Marine who is a boxer. He makes good beating up a gang of roughnecks picked for the purpose, and secures the mysterious job that is filled with danger. It is to guard the heiress Lady Chatfield, but the hero is told nothing as to the secret in back of it all. Dick poses as Lord Grantmore, wears a monocle, and otherwise acts like a titled Englishman. They proceed to the mining town of Goldbrook, where the heiress is to occupy a mysterious mansion on the occupancy of which hinges a great fortune. The engineer of the mines is deeply interested in thwarting the plans of Lady Chatfield, and with his gang of roughneck miners makes things lively for the pugilist star in a series of fights that are hair raisers.
Lady Chatfield
Charles Vellard
Mazzie
Roger Poole
As a reporter, Dick Farrington is sent to cover an assignment that promises a big story. A lawyer has advertised for an ex-Marine who is a boxer. He makes good beating up a gang of roughnecks picked for the purpose, and secures the mysterious job that is filled with danger. It is to guard the heiress Lady Chatfield, but the hero is told nothing as to the secret in back of it all. Dick poses as Lord Grantmore, wears a monocle, and otherwise acts like a titled Englishman. They proceed to the mining town of Goldbrook, where the heiress is to occupy a mysterious mansion on the occupancy of which hinges a great fortune. The engineer of the mines is deeply interested in thwarting the plans of Lady Chatfield, and with his gang of roughneck miners makes things lively for the pugilist star in a series of fights that are hair raisers.
1926-09-12
0
Thrills, Stunts, Daring deeds. First screen appearance of the new world champion Gene Tunney, fighting Marine, Legionnaire, clean-living, hard-hitting boxer bristling with sparkling climaxes.
A lost silent drama film directed by Raoul Walsh and starring Renée Adorée, Carlo Liten, Harrison Hunter, Beatrice Noyes, Florence Malone, and Jean Gauthier DeTrigny. It is based on the 1919 French novel Les Plus Fort by Georges Clemenceau.
Walsingham Van Dorn has a fancy name but no money until he inherits 40 million dollars from a pair of wealthy, but wicked, uncles.
Francis, a young man, recalls in his memory the horrible experiences he and his fiancée Jane recently went through. Francis and his friend Alan visit The Cabinet of Dr. Caligari, an exhibit where the mysterious doctor shows the somnambulist Cesare, and awakens him for some moments from his death-like sleep.
A man is framed for the murder of his uncle, a bank president, and sentenced to hang. His sister and a mail clerk who's helping her discover information that may clear him, but they have to get to the governor in time to present their new evidence and get a stay of execution.
In a futuristic city sharply divided between the rich and the poor, the son of the city's mastermind meets a prophet who predicts the coming of a savior to mediate their differences.
Happy in her devotion to her unfortunate sister and the promise of honest love that had come into her life, the girl was perhaps blind to true values. She became indifferent to her life and its surroundings. Accordingly she accepted the stranger and his doubtful promises. Honest love and duty were forgotten, until, caught near life's uncertain edge, she was called back by her blind sister's peril. Thus was true love separated from blind infatuation and life's lesson learned.
Boulevardier Sir Nicholas Thormonde (Lew Cody) has to choose between his mistress Suzette (Renée Adorée) and his virtuous secretary Alathea (Harriet Hammond) in wartime Paris.
A semi-documentary experimental 1930 German silent film created by amateurs with a small budget. With authentic scenes of the metropolis city of Berlin, it's the first film from the later famous screenwriters/directors Billy Wilder and Fred Zinnemann.
The girl's lessons from the young station agent on the manipulation of the telegraph code served her in good stead. By it, hemmed in on all sides at the lonely farmhouse, she was able to save both herself and her father's money from desperate tramps, an experience which is grippingly illustrated in this Biograph melodrama.
In this film one is shown the contrast of two fathers. One father refuses to believe his son guiltless, while the other, fully realizing the weakness of his son, struggles to save him from further disgrace. In this attempt he exonerates the innocent youth, but at the same time exposes the guilt of his own son.
Russian emigré Dimitri Kirsanoff’s film, alternatively titled Death of A Stag and Une chasse à courre, is a post-war study of a traditional stag hunt. The pursuit of the animal finds a cross-cutting parallel in the felling of a tree in the forest.
Two families, abolitionist Northerners the Stonemans and Southern landowners the Camerons, intertwine. When Confederate colonel Ben Cameron is captured in battle, nurse Elsie Stoneman petitions for his pardon. In Reconstruction-era South Carolina, Cameron founds the Ku Klux Klan, battling Elsie's congressman father and his African-American protégé, Silas Lynch.
A married farmer falls under the spell of a slatternly woman from the city, who tries to convince him to drown his wife.
No doubt the old antique dealer was prejudiced against his junior clerk. After frequent shortages, the clerk's visit to the gambling house was reported by the detective and he was discharged. In truth, he had gone to find the senior clerk, who owed him money which he needed for his mother, hovering close to the edge of life. By sharp detective work, the designs of the senior clerk were frustrated.
A motherless child has a tumultuous existence, but she eventually becomes a famous international opera singer. Past and present meet when she performs in her original home town.
A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre. The film had an incredible impact on the development of cinema and is a masterful example of montage editing.
This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.
Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.
Compelled to keep house for her father and her younger sister and brother, Martha is deprived of all the pleasures of youth. Ned, who loves her, begs her to elope with him. Martha yields, but while on the way to the minister, decides that her duty lies back home with her father. Heart-broken, Ned leaves for the city.
Margaret Jarnette discovers that her husband Victor has been cheating on her and confronts him. Outraged, Victor has his lawyer rewrite his will so that in the event of his death, his brother Richard will get custody of his daughter Muriel, and his wife won't. When Victor dies shortly afterward, Richard suspects that Margaret had murdered him and takes custody of Muriel. However, he soon begins to suspect that things may not be quite as cut-and-dried as he thought they were.