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poster
?
3.9
/13/
10
/1/

The Caprices of Kitty (1915)
N/A
poster
?
6.7
/19/

The Awakening of Ruth (1917)
Ruth Hoagland grows up on the Florida Keys with no companion other than her father, a half-witted fisherman who spends most of his time hunting for buried treasure. Vacationing yachtsman Bob Winthrop and Ruth fall in love, but Winthrop returns to New York, and after a year, has forgotten Ruth. After finding two chests in a cave, Ruth locates her father unconscious from a fall. She goes to the mainland for help, but returns with the Reverend Josiah Arbuthnot and Dr. William Strong, to find her father dead. Strong, out of kindness, offers to marry her, but Ruth declines, sure that Winthrop will return.
poster
?
6.2
/16/

After the Show (1921)
After the Show was adapted from Rita Weiman's story "The Stage Door." Lila Lee plays Eileen, a starry-eyed young girl employed as a chorus dancer in New York. Eileen can never be certain if the men in her life are sincere, or if they perceive her as mere temporary plaything. Among the "stage door johnnies," "tired businessmen" and "sugar daddies" surrounding Eileen are Jack Holt and Carlton S. King.
poster
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The Garter Girl (1920)
Vaudeville dancer Rosalie Ray, disgusted by the advances of her admirers, quits the stage and retires to the anonymity of a small town. At her rooming house she meets young minister Arthur Lyle who proposes to her. Soon after, Rosalie learns of a mysterious woman in Lyle's past and decides to investigate. Learning that Lyle keeps a cherished memento of this femme fatale in his room, Rosalie determines to unearth it. Locating the box, she opens it, only to discover her own garter inside. Rosalie is so repulsed at the revelation that when her former manager, Brad Mortimer, appears to offer her his hand in marriage and a professional engagement, she accepts both and returns to the stage.
poster
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The Pitfall (1913)
Pretty country girl Hazel Dorn sings in her church choir when she sees a newspaper advertisement for chorus girls placed by theatrical manager John Hern. Despite her mother's pleas, she leaves home for the city. Hern has personal reasons for hiring the young girl and intends to lure her to her ruin. However, another, older girl, Fannie Rice, who has already been a victim of Hern, contrives to save Hazel.
poster
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The Harvest Moon (1920)
N/A
poster
?

Coming Home (1914)
N/A
poster
?
3.8
/12/

A Little Brother of the Rich (1919)
Captain of the Yale football team, Paul Potter becomes engaged to his small-town Indiana sweetheart Sylvia Castle but once in the big city he becomes involved with married society girl Muriel Evers and finds Sylvia too provincial, ending their engagement. In time Sylvia meets alcoholic actor, Henry Leamington, who encourages her to become an actress while she helps him get sober. In New York she finds success and becomes reacquainted with Paul for whom she still has feelings, but comes to realize he is a lout and returns to Henry.
poster
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Find the Woman (1922)
This whodunit bears no relation to the 1918 picture of the same name, but both films coincidentally had the same director, Tom Terriss. When sleazy theatrical agent Maurice Beiner (Arthur Donaldson) is found stabbed to death in his office, just about everybody is a suspect -- there's aspiring actress Clancy Deane (Eileen Huban), who was one of the last people to see him alive, and Sophie Carey (Alma Rubens) who knows he has some love letters she wrote to Judge Walbrough (George MacQuarrie) before she married her alcoholic husband, Don (Henry Sedley). Or is it Marc Weber (Norman Kerry), who had a falling out with Beiner, or Weber's devoted wife, Fay (Ethel Duray)?
poster
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The Spotlight (1927)
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.


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