Born and raised in poverty, Marguerite Clark has learned to expect very little out of life and thus is rather surprised to learn that she is the niece of a wealthy financier. Alas, this puts a crimp in her romance with a handsome young architect, who has long despised the financier for causing the downfall of the architect's father.

Known as "Wildflower," Letty Roberts meets Arnold Boyd, a wealthy man who is weary of life in the city.

Bab comes home for the Christmas holidays. Given to fabrications, Bab has been keeping a diary in which she describes and imaginary boyfriend named Harold Valentine. Imagine what happens when a real Harold Valentine shows up as her parents' house guest.

Fifi is an actress in Napoleon-era France. She wins a lottery and leaves Cartouche, the man she loves to go live with a rich family. The conniving Louis Bourcet tries to woo her because he wants her money. But Fifi wants nothing to do with him, and ultimately she gives up her money and returns to Cartouche. But Cartouche, believing he is too old, refuses to marry her until Napoleon himself orders him to do it.

Count Von Herbeck, the chancellor to the Grand Duke of Ehrenstein, is married but keeps the fact secret on account of his high ambitions. His wife, dying, writes him a letter urging him to make their little child a great lady. A lost film.

Pepita, a radiant and merry Spanish beauty, and her playful brother Jose, witness their mother, whose faded beauty led her husband to abandon her for another, plunge a dagger into her breast.

Little Miss Hoover is a 1918 American silent romantic drama film directed by John S. Robertson and stars Marguerite Clark. The film is based on the novel The Golden Bird, by Maria Thompson Davies.

Mrs. Wiggs, a loving mother whose husband has abandoned her, supports her many children and lives in hope of her husband's return.

When Tourneur adapted the allegorical plays The Blue Bird by Belgian symbolist Maurice Maeterlinck and Prunella by British playwrights Harley Granville Barker and Lawrence Housman in 1918, they had been successfully staged for many years, opening in Moscow and on Broadway and everywhere. Today, the saccharine charm of these anti-modern fairy tales doesn’t work any more. But undistracted by the meaning or action of the film, we can enjoy the surface of Prunella all the better, the dazzling sets and costumes, silhouettes and painted backdrops created by the great art director Ben Carré in a fashionable Art Déco Neo-Rococo style.

Three sisters, all raised as boys, have trouble fitting into male-dominated society.