Cécile Guyon

Gribiche, a young boy whose mother is a war widow, gets adopted by a rich woman. She wants to turn him into a perfect gentleman, but soon he feels unhappy.

Cécile Guyon is young Pierrot. He has fallen in love with the laundress, pretty Jane Renouardt. However, she wants more than a lover whose poor fashion sense impels him to dress as a stage clown. She wants jewelry, pretty clothes, and probably a string of poloponies, so Guyon robs his parents' safe and steals their life savings so he can run off with Mlle Renouardt.

Propaganda spy-movie, Belgian-French production, directed by Honoré and Georges Lainé. A village girl repels the advances of the miller's son, who cowardly leaves for the German army. During the war he transforms into a ruthless soldier seeking for revenge on his village. A melodramatic story as alibi for anti-German propaganda.

Short World War I film.

Gevaërt and his daughter Marie show the latter's fiancé, Sergeant Tressignies, the system that opens or closes the swing bridge connecting the banks of the Yser. The Germans having taken this key position, the sergeant receives the order to reoccupy the house of the smuggler.

"Scene, a first-class railway carriage. Max and delightful girl alone. "May I smoke?" breaks the ice, and then Max brings all the arts of fascination to bear on the lady, who is by no means shy. Max calls next day. Her father is in the enamel bath and geyser line. Max is making love; a customer enters. Girlie hides Max in portable shower bath. Enter father, who is a good salesman. He turns on the shower - and Max. What a delightful comedian Linder is." (The Bioscope, Nov. 22, 1917)

Based on Emile Zola's novel, an uncompromisingly harsh and realistic story of a coalminers' strike in northern France in the 1860s.

La Glu tells the story of a woman, separated from her husband, and of evil reputation, who at a summer resort tries to capture the fortune of a wealthy aristocrat whose nephew had been in love with her, and is herself caught in the toils of her interest in a poor and primitive Breton lobster-fisherman. His simple soul discovering the past career and the heartlessness of the Parisian woman, in despair he tries to kill himself by throwing him-self on the rocks. When the Glu, the name given to the woman in question, tries to see the youth, his mother kills her with a mallet on the steps leading to the room of the invalid.

Short melodrama. Two former lovers meet twenty years later when the man has to compete with the son of the woman.

Grandmother Hall, aged fast falling in health, is greatly comforted by her only two grandchildren, daughters of her own daughter long since past before. She has made a will in which she stipulates that Lawrence, her son, shall inherit her wealth providing he assumes the care of her grandchildren, and who are, of course, his nieces. She dies. Lawrence claims the estate and orders his nieces to get out and earn their own way. A second will is found, properly filed and recorded. It is read and they learn that it is a repudiation of the first will, should Lawrence fail to live up to the terms therein. Lawrence tries to break the will but fails and the estate is ordered delivered to the girls. The granddaughters kind-heartedly offer Lawrence a home with them.

In 1912 Jasset turned from fantasy and spectacle to realism in making the first of two Zola adaptations, as part of Éclair's new series of social dramas. For Au pays des ténèbres, based on Germinal, he took his crew to Charleroi in Belgium to film in authentic locations, and although he updated the story to the present, he went to great lengths to recreate in the studio the detail of the actual mining galleries, exploiting the ability of film to be a recorder of contemporary reality.