A collection of nine enchanting films 1901-1925 offers a nostalgic peek into the Yuletide pleasures of the early 20th century.

Buster gets word that if he can be married by seven o'clock that evening he will inherit $7,000,000. When his sweetheart refuses, he proposes to everyone in skirts, including a Scotsman. Hopeful still, he advertises for a bride and is horrified to discover 500 would-be-brides hot on his trail in a hilarious chase to the finish. *"a work of relentless hilarity and visual invention of another order, highlighted by a majestic chase scene.." - Dan Sullivan, **Film Comment***

Mary Pickford plays a "tomboy of the tenements" in this comedy drama, which she wrote.

A forerunner of the American horror film, and one of the most lavish productions of the silent cinema, THE PHANTOM OF THE OPERA has inspired countless remakes and imitations. But none of its successors can rival the mesmerizing blend of romance and mystery that haunts every frame of the Lon Chaney original.

A young wild girl Fanchon (Mary Pickford) lives in a forest with her eccentric grandmother who is suspected by the villagers of being a witch. The unkempt Fanchon suffers from her grandmother's sorceress reputation. One day the girl rescues a boy from drowning, and they fall in love, but Fanchon won't agree to marry him unless his father asks her.

With little luck at keeping a job in the city a New Yorker tries work in the country and eventually finds his way leading a herd of cattle to the West Coast.

Alexander Kamenka, the head of Albatros, thought Jacques Feyder the greatest French filmmaker, and secured his talent for the dazzling comedy-Jean Forest (Faces of Children, Crainquebille) is Gribiche, a working-class youth who allows himself to be adopted in the hope that his widowed mother can marry a man unwilling to take on a step-son.

Flicker Alley is proud to present this edition of The late Mathias Pascal. It is remarkably cast with some of the great actors of that era: Ivan Mosjoukine, (as Mathias Pascal), Michel Simon, Lois Moran, Pierre Batcheff and Marcelle Pradot. The film also boasts famous stylized sets designed by Alberto Cavalcanti and Lazare Meerson, seen here to best advantage in a stunning tinted and toned print restored by the Cinèmatheque Française, and accompanied by a beautiful large-orchestra score composed and conducted by Timothy Brock. Mathias, an eccentric dreamer, is trapped in the undertakings of daily life as he suffers his days in a loveless marriage, a dead end job and tyrannized by his ungrateful mother-in-law. Grief-stricken by the death of his mother and infant daughter, Mathias flees to Monte Carlo, where a run of luck at roulette wins him a fortune. After his death is falsely reported, Mathias leaps at the chance of a second and adventurous life in Rome. Both tragedy and comedy, The late Mathias Pascal explores the struggles and possibilities of a man in search of happiness in L'Herbier's most celebrated film. Critic David Melville wrote The white Russian exile Ivan Mosjoukine was arguably the greatest male star of the silent screen. Imagine an actor who combined the matinée idol looks of John Barrymore with the smoldering sexual magnetism of Valentino, the deft physical comedy of Chaplin with the dark Gothic creepiness of Lon Chaney. It sounds impossible, of course - unless you've seen Mosjoukine in action. This is a co-production of L'Herbier's Cinegraphic company, and Alexandre Kamenka's Films Albatros, the Parisian home of the émigré Russian screen colony and maker of many of the most prestigious films of the decade. L'Herbier at this time was among cinema's leading avant-garde directors, the equal of Fritz Lang, Abel Gance and Erich von Stroheim, and The Late Mathias Pascal is considered one of his best films, full of picturesque tricks, spiritual angles, and dream sequences as it passes from rural chamber-film to burlesque fantasy, with an incursion into expressionist comedy of manners. The Late Mathias Pascal is a film of great distinction and virtuoso style, adapted and directed by Marcel l'Herbier from a novel by Luigi Pirandello. The biggest French fantasy film of the 1920s, this co-production of Cinegraphic and Films Albatros, is considered one of L'Herbier's best films, full of picturesque tricks, spiritual angles, and dream sequences as it passes from rural chamber-film to burlesque fantasy, with an incursion into expressionist comedy of manners.

After her father's death and her uncle having drunk all the inheritance, Virginia is left alone. She is accepted by a family of bohemians but a quarrel between the bohemians and the peasants coerce her to flee the peasants' riot. She is then helped by Raynal who falls in love with her but is too shy to tell her. Sheltered by his father, Virginia is robbed by her uncle of the money Raynal gave her to pay the bill in the village. He and his son then start to consider her a thief.

Odessa - 1905. Enraged with the deplorable conditions on board the armored cruiser Potemkin, the ship's loyal crew contemplates the unthinkable - mutiny. Seizing control of the Potemkin and raising the red flag of revolution, the sailors' revolt becomes the rallying point for a Russian populace ground under the boot heels of the Czar's Cossacks. When ruthless White Russian cavalry arrives to crush the rebellion on the sandstone Odessa Steps, the most famous and most quoted film sequence in cinema history is born.