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Edith Hardy uses charity funds for Wall Street investments in hopes of buying some new gowns. She loses all the money and borrows from wealthy oriental Tori. When her husband gives her the amount she borrowed, Tori won't take it back, branding her shoulder with a Japanese sign of his ownership. She shoots him. Her husband takes the blame. In court Edith reveals all to an angry mob. Written by Ed Stephan {stephan@cc.wwu.edu} While hosting a game of cards one night, Narumov tells his friends a story about his grandmother, a Countess. As a young woman, she had once incurred an enormous gambling debt, which she was able to erase by learning a secret that guaranteed that she could win by playing her cards in a certain order. One of Narumov's friends, German, has never gambled, but he is intrigued by the story about the Countess and her secret. He soon becomes obsessed with learning this secret from her, and he starts by courting her young ward Lizaveta, hoping to use her to gain access to the Countess. A miner has struck it rich and gives some ore to cowhand Jess Dean to take to his granddaughter. But Horse Williams has the miner shot and uses the ore found on Jess to accuse him of the murder. Jess escapes from the mob of townspeople who later learn that the body of the supposedly dead miner has mysteriously disappeared. 中国青(qīng )年程桓(huán )（理查德·巴塞(⬜)尔梅(🅱)(méi )斯(📫) Richard Barthelmess 饰）(🔍)远赴(💉)伦敦，希望能够(gòu )在异国(guó )他乡传授佛教(🥘)(jiāo )教(📀)义。哪(🎰)知道(🔈)(dào )理(㊙)想丰满现实(shí )残酷，抑郁不得志的程桓不(🤙)(bú )仅(🥢)荒废(😵)(fèi )了(🐏)事业(🚆)，还沾染上了(le )鸦片，整日生活在颓(tuí )废沮丧(🗞)(sàng )之(🚯)中。 In attempting to develop a chemical which would make a person super-intelligent, Dr. Montrose fails and the subjects of his experiments metamorphose into hideous monsters who band together and prey on humans. With the police stymied, a young detective attempts to track down the leader of the group of killers, known only to have a small crimson stain in one eye. Another amazing find from our friends at Cine-Clasico, "Vier um die Frau" is a 1921 Fritz Lang film found in the Brazilian film archives. The period intertitles are in Portuguese but the plot is not difficult to follow, particularly with the assistance of the invaluable Herr Graf Ferdinand Von Galitzien, whose blog entry on the film (link) follows : Roberto是(⛓)一个(🗒)年轻(💊)的(de )美国籍(jí )古巴人，七岁时被父(fù )亲(🏇)非法(🐒)(fǎ )偷(🍬)渡带(😜)到美(🔻)国(guó )，事隔(gé )多年他(tā )第一次回到自(zì )己(💪)的祖(🏼)(zǔ )国(✖)，此行(🤣)主要(🐦)目的是(shì )找寻他(tā )的母亲，并与她当面(mià(🥌)n )对质(📕)，因为(🛩)他一(🏤)直认(👁)(rèn )为是母(mǔ )亲将他(tā )抛弃。然而这(zhè )次旅(😏)行(há(😻)ng )也变(😈)成了(🍲)一个(🚀)不寻常(cháng )的心灵(líng )之旅，让他找(zhǎo )回了真(📭)(zhēn )正(🌹)的自(🌍)(zì )己(⬛)……(🚟) I saw this at the London Film Festival in 1995 or 1996. The print had been lovingly restored from sections scattered around the world, including some from archives in Moscow. Somebody near me said "I'm really looking forward to this", which was understandable, since the director, as Michael Curtiz, later made some jolly swashbucklers and Casablanca, and the LFF had previously come up with several almost unknown silent masterpieces, including Jacques Feyder's Visage d'enfants. The Ethiopian King offers his daughter to a powerful Pharaoh to secure peace between the two countries. Suddenly appearing in Florence, an evil seductress causes Cesare, the city's ruler, and his son to both fall madly in love with her. The son, killing his father before an order to torture the woman can be carried out, then turns the city's churches into dens of sexual debauchery. Acts of evil and corruption continue unabated until the arrival of Death, who brings with her a horrible plague which she is about to loose upon the city.