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A Lady of Quality (1913)
News is received by Sir Jeoffrey, a dissolute roué, whose contempt for the other sex extends even to his own daughters, of the arrival of another female child in the family. The mother dies shortly after, and the child, Clorinda, is brought up among the servants without a guiding hand. True to his vow to ignore his offspring, Sir Jeoffrey does not come in contact with Clo, until her sixth year, when he finds her playing with his powder horn in the great hall of his castle, Wildair, and sternly upbraids her.
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Broncho Billy’s Squareness (1913)
Earl Briggs, a ranchman, and Carl Underwood, a sheriff, are in love with Grace Woodward. Earl is the favored suitor and in time Grace becomes engaged to hire. Sometime later the stage is held up by Broncho Billy, a notorious outlaw. A fierce battle ensues in the woods between the posse and the bandit, in which Broncho Billy is wounded
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When Ghost Meets Ghost (1913)
If you were a studious man, accustomed to burning the midnight oil, wouldn’t it annoy you if each night at 12 precisely, the ghost of a melancholy maiden appeared, weeping and lamenting? A certain professor was bothered this way. He was not afraid of ghosts and could have endured one whose specialty was silent haunting. He found, however, that the weeping maiden was a nuisance, and prevented him from concentrating. So he decided, ungallant though his conduct might be deemed, to get rid of her.
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Quo Vadis? (1913)
Quo Vadis?” (1913) was a landmark in early Italian historical epic films and certainly Herr Enrico Guazzoni’s grand scale masterpiece laid the foundations for what genuine kolossal Italian spectacles should be. It had a great deal of influence on Herr Giovanni Pastrone’s “Cabiria” (1914) and D.W. Griffith’s “Intolerance” (1916).
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The Battle at Elderbush Gulch (1913)
Two young girls are sent away to live with their uncle, which sets off a chain of events resulting in an Indian attack on the town
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Fantômas: In the Shadow of the Guillotine (1913)
For the arch-criminal Fantômas, no crime is too daring, too adventurous. A master of disguise, he has no trouble relieving the Princess Danidoff of her priceless pearl necklace at the Royal Palace Hotel. Inspectator Juve is determined to capture Fantômas and put an end to his limitless villainy. Whilst investigating the disappearance of Lord Beltham, Juve finds himself on the trail of his arch-enemy once more. He discovers that Beltham’s widow has been having a secret affair with a mysterious stranger, Gurn. In Gurn’s apartment, Juve discovers the dead body of Lord Beltham and business cards bearing the name Fantômas. A triumphant Juve makes an easy arrest of Gurn, alias Fantômas, and is sure that nothing can save the evil-doer from the guillotine. But Lady Beltham has an ingenious plan to save her lover, using an actor Valgrand who closely resembles Gurn.
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Fantômas: The Dead Man Who Killed (1913)
Fantômas murders a baroness, cleverly framing the artist Dollon for the crime. Then Dollon is mysteriously murdered whilst in prison. After the body disappears from inside the prison, a series of crimes take place, leaving behind the fingerprints of the dead man. With Juve presumed dead, Fandor must investigate alone. Will Fantomas finally be brought to justice?
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Onésime débute au théâtre (1913)
Onésime came down and threw himself on stage, starting into the great aria at which he excelled. We must say, in respect for the truth, that he earned what critics calls “the estimated success”: Onésime, who has the voice of a barrel salesman, sings like the pulley in a well.
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Les misérables – Époque 3: Cosette (1913)
The Thenardiers and their small daughter, Eponine, and young son, Gavroche, are seen at their dingy country tavern. Here little Cosette, the daughter of Fantine, is seen performing drudgery and menial tasks. The Thenardiers are treating their own children kindly, but are cruel to Cosette.
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