Women They Talk About

Society miss Sally Raeburn is left penniless and is helped out by an older woman. The woman makes it clear that to repay her, Sally must marry wealth, so when the very well-heeled Lester comes to her village, Sally goes after him. Lester has been traveling incognito in the hopes that no one will discover him, so when Sally wins him she feels guilty and confesses that she knew who he was all along.

A young woman is framed and sent to prison for a crime she didn't commit. When she is released, she sets out to take her revenge on those responsible.

An heiress takes a road trip in a green van. Unbeknownst to her, she has four pursuers.

After the divorce of Schuyler Rutherford from his rich wife Caroline, who was his meal ticket, Schuyler's sister Kathleen is so humiliated by the fact that her penniless condition was brought to light during the court proceedings that she seeks solace in her friend, sculptress Mary Carter. Mary offers her friend a job as her secretary and, while working, she becomes acquainted with Mary's wealthy cousin Robert Winston when she overhears him denouncing parasitic girls like Kathleen. Vowing revenge, Kathleen assumes a false name and obtains a position as Robert's secretary, determined to make him fall in love with her.

When a wealthy young lady loses her inheritance, she decides to apply for work in disguise. In prim and proper working girl attire she becomes the respectable companion of a woman looking to reform her wayward nephew.

Mike Kildare, a swaggering youth from New York City's Bowery at the turn of the century, comes to the defense of Mamie Rose, a mender in a secondhand clothing shop, when his own gang of Irish-Americans insult her.

Though her father forbids her to marry Jack Harvey, a poor young artist, Molly Wilson becomes his wife and goes away with him to another town. Bessie, the eldest daughter, an attractive widow with two baby boys and a baby girl, pleads with her father in Molly's behalf, but he is obdurate.

Lizzie Stokes, an obscure and colorless actress, is elevated to stardom through publicity and better coaching from Daniel Hoffman, a theatrical producer. As Olga Rostova, an exotic Russian, she meets Norman Brooke, whose infatuation turns to love. Hoffman suggests that Norman could never care for Lizzie and proves his point. Heartbroken, Lizzie decides to see no more of him. On closing night, when he proposes to her in her dressing room and she refuses, Norman declares he must believe all the lurid details of her past; in desperation, she bares her true identity, only to find it is not her glamorous image but rather her real self that he loves.

Drama in the Futurists' Cabaret No. 13

Irked by the success of a brassy nightclub owner. her rivals set out to drive her out of business, and frame her for a murder in the bargain.

A doctor who believes that only the immoral catch syphilis reconsiders his stance.

A peasant girl goes to great lengths to protect her child in 19th century Vienna. The film is considered lost, and only four minutes of footage are known to remain.

A 1919 film directed by Sidney Franklin.

A 1919 film directed by Edward José.

A 1920 film directed by Roy William Neill.

Neglected by shallow husband Dick, young bride Paula Wayne seeks male companionship outside the marital nest. She soon finds it in the form of mature lover Frank Gordon. Lost film.

John Hampstead gives up his career as an actor and his actress sweetheart, Marian Dounay, to become a minister in a western town. Marian appears, and failing to win him back she tries to ruin his reputation. Hampstead is accused of stealing some jewelry though actually he is protecting the scapegrace brother of his current sweetheart, Bessie.

A man loses his memory after a suicide attempt and falls for his nurse. He recovers physically but does not regain his memory. He takes a new name and begins work at a mill.

You would think that the death of his wife through his dissipation and neglect would have brought Jack Moreland to his senses. Instead he is more dissipated, and deserts his child, Clara, who is taken by her uncle, Harold Moreland, and brought up in ignorance of her father's existence.

One of the two earliest horror films ever made. This film is presumed lost. In this black comedy scene, the bottom falls out of a coffin, the corpse tumble out, and is jolted back to life. Short sequences like this, as well as street scenes and dancing geisha girls were the main subjects of early Nippon cinema, pioneered by Shiro Asano and Shibata Tsunekichi from 1897 onwards. In creating dramatic, scenes, film-makers naturally chose the most striking or bizarre. Another undocumented film, recalled by cameraman Shiro Asano.