The Return of Peter Grimm

Uncle Peter (Lionel Barrymore) is a rich old man who takes care of his niece and sickly nephew. When the story begins, Uncle Peter is at a seance...and thinks it's all a lot of nonsense. Little does Peter know that soon he'll be dead...and he's desperate to contact these two, as it turns out he made a mess of things...asking the niece to promise to marry his ne'er do well nephew who just came to town. But Peter's ghost is able to see how horrid this nephew is...and how little regard he has for the sickly nephew and the niece. And so, he finds himself fighting to somehow let her know that she does NOT need to honor her agreement and should marry the man of her own choosing.

While the film has a neat idea, its execution could have been MUCH better. First, the film lacks energy and becomes dull when it never should have been. Second, while Barrymore is good, the rest of the cast are at best adequate. And finally, the technique they used to make Peter look ghosty (by blurring part of the lens with Vaseline) just didn't look very good nor convincing. Overall, an interesting concept but a film that really didn't work all that well...unlike a similar and far superior film Barrymore made soon after...the great "On Borrowed Time" (1939).

The Return of Peter Grimm (1935)

** (out of 4)

Interesting remake of a 1926 silent (with Janet Gaynor) has an elderly man (Lionel Barrymore) dying but coming back to life so that he can help his family and especially a young woman (Helen Mack) he gave bad advice to, which could hurt her future. THE RETURN OF PETER GRIMM is a rather interesting film but I'd say it falls a little short of being a complete winner for a number of reasons. One thing that I didn't care too much about is that it seems like the thing never knows what it wants to do. Is it a comedy? Is it a drama? Is it some sort of fantasy? It blends all three of those elements but I'd say all three are less than winning in regards to how well they work. The first portion of the film has Barrymore doing what only he could and that's be the strong figure who also can be a grump. There's no question he could play this type of role in his sleep and he does a very good job with it here. The second portion of the film has him dying and coming back to life to hear what some of his "friends" said about him at his will and then we get to his personal connection with the characters. Most of these scenes just weren't all that funny and the tender moments weren't nearly as effective as they needed to be. Barrymore, Mack and the supporting cast certainly help keep the film moving but it's just missing something. Barrymore's "ghost" comes from him being out of focus on the screen, which is somewhat weird to watch but I'll admit it did give the film a strange atmosphere.

This movie was recently on "Turner Movie Classics." Seeing the cable guide write-up and the fact that Lionel Barrymore was the headliner had me looking forward to this film, but I was really disappointed.

I have to admit, of a listed 83-minute film, I finally snapped it off with about 45 minutes to go. I'm all for setting the scene, developing characters, etc., but enough was enough. There were a couple of chuckles in the part I saw leading up to the death of the character Peter Grimm and I knew it would probably get funnier with the appearance of his ghost, but I just gave up. I got to roughly 5 minutes after his death and that was it.

The entire first half was tedious character/storyline development which was WAY too much! They could've accomplished everything they wanted to do in about 15 minutes and then spent the roughly 70 remaining minutes on the humor, fantasy, and fun.

Perhaps someday I'll sit down and watch the rest of this movie, but, for what it's worth, I didn't care too much for what I saw.

The Return of Peter Grimm as presented on Broadway back before World War I was the subject of some contention that Cecil B. DeMille related in his autobiography. Before going west to do films, DeMille was a Broadway actor and aspiring playwright who wrote a play while he was in the employ of David Belasco, The Return of Peter Grimm.

DeMille's version had the lead character of Peter Grimm as a manufacturer who stole a patent and built a fortune. Grimm comes back from the dead to try and undo some wrongs he did while here on Earth in the flesh. Belasco changed the character to a Dutch nursery man who is also a dominating sort of fellow. And instead of a séance that DeMille had that the spirit of Peter Grimm manifested itself, he had him come to life through the eyes of a very ill child.

Came the opening night of The Return of Peter Grimm, DeMille was expecting to have co-author credit, but instead was listed way down in the program as having the idea for the play. It was a bitter disappointment and he never worked for Belasco again.

Though he was vague on the subject as he was in a lot of other things in his memoirs, DeMille said he really wasn't in any position to take legal action. Nor did he want to because Belasco was a friend of his father's and a great influence on his film career.

There was a silent version of The Return of Peter Grimm and this one that starred Lionel Barrymore as Peter Grimm. Barrymore gives a good performance in the title role as does his ward Helen Mack who he makes her promise to marry his no-good nephew. As a spirit he finds out what a bum he was.

Also look for good performances by Edward Ellis as Barrymore's friend and confidante the doctor and George Breakston as the child who only wants to go to the circus with Uncle Peter. If the kid was Belasco's idea, it was a good one, his scenes with Barrymore are quite touching.

You might want to check The Return of Peter Grimm out yourself and see if you can find some traces of DeMille.

"The Return of Peter Grimm" (1935) is a remake of a 1926 silent of the same name; which itself was a adaptation of David Belascoe's play. Lionel Barrymore plays the title character, a wealthy uncle whose relatives live with him on his estate. Helen Mack plays his ward Catherine and George Breakston his young nephew William. Peter and William are not in good health and their doctor (Edward Ellis) is a constant presence in the house.

The main villain of the piece is older nephew Frederik (Allen Vincent) who is responsible for the suicide of William's mother and is plotting to marry Catherine and sell the estate they will jointly inherit. Vincent is appropriately slimy in this role and they somehow manage to subtly convey this the instant he first appears on the screen (you just sense it). These older films are often a surprising showcase of acting and directing talent.

Peter favored this marriage when he was alive, and encouraged Catherine to reject the man she really loves. But upon his death he realizes his mistake and returns as a ghost hoping to set things right.

The ghostly effects are of course quite dated but rather interesting. It appears that the scenes with Peter's ghost were shot in a normal fashion and then altered in post-production. A blur was glued to the side of the negative in which Peter is positioned, it is way too extreme and renders Barrymore's acting for the camera ability irrelevant; he can only convey his character's emotions with his voice during this sequences. And although they try to stage the scenes in such a way that the other actors (playing live characters) are not obscured, there are several times when they walk right into the blurred area.

Barrymore is an amazing actor, and the production is worth viewing just to see him do his stuff. He is nicely assisted by Ethel Griffies who plays Mrs. Bartolomew, a charity obsessed busybody who gets funnier with each scene in which she appears. The film also has a nice script going for it, especially if you like film's that preserve the basic flavor of their original stage productions. I can't imagine the silent version being very entertaining as it is the dialogue that really holds everything together.

Of special note is the touching final scene between Barrymore and Breakston, which you don't see coming. They go out on this sequence, which I imagine was quite a sensation for 1935 audiences.

The again, what do I know? I'm only a child.