The Return of Peter Grimm

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.

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.

In upstate New York, wealthy Lionel Barrymore (as Peter Grimm) arranges for his beautiful ward Helen Mack (as Catherine) to marry his closest blood relation, nephew Allen Vincent (as Frederik "Fred" Grimm). Although she is in love with Mr. Barrymore's nice-guy secretary James Bush (as James), Ms. Mack promises to marry the sneaky-acting nephew. After expiring, Barrymore realizes his mistake and must make amends. That's the obvious story. Pay closer attention to the story unfolding within the boy, young George Breakston (as William Van Dam), who greets Mr. Vincent at the train station...

This is a fine version of David Belasco's excellent original story, made famous by the playwright with stage star David Warfield. No doubt familiar with the role, Barrymore went "on loan" from MGM to RKO in accepting the part. A notorious scene stealer, Barrymore employs his excessive body movements while on camera and is toned down for the film's noticeable "special effect". Initially, you may find yourself squinting at the blurred image. Also, some intriguing parts of the original work are omitted, unfortunately, but the remaining product still plays. It's flawed - but not fatally...

The screen keeps busy with Donald Meek and Ethel Griffies (as Everett and Martha Bartholomew) around. Edward Ellis (as Andrew Macpherson) and Lucien Littlefield (as Tom Lawton) provide balance. Barrymore and young Breakston "walk away" with the film. This type of story has been made numerous times, but this version is special because it seems to be about one plot, but is really about other things; and, the stories compliment each other perfectly. Someone should look into obtaining the rights to this film and attempt a re-make. "They don't make 'em like this anymore," but they could try.

******** The Return of Peter Grimm (9/13/35) George Nicholls Jr. ~ Lionel Barrymore, George Breakston, Edward Ellis, Helen Mack

In what was easily Lionel Barrymore's audition for On Borrowed Time, this sad story follows a man's attempt to make amends in the afterlife. Lionel is a skeptic about ghosts and spiritual life, but when he dies and returns as a ghost (a blurred image on the film strip), his view obviously changes. His family and those dear to him are surprised by his Will, since he didn't give the money-grubbers what they wanted. He was able to see through most, but not all. He directed his beloved ward, Helen Mack, to marry his nephew, Allen Vincent, since he thought he was a wonderful man. But, as a ghost, he discovers that Allen is terrible! How will he reach Helen through his spirit, to release her from her deathbed promise and follow her heart? And in the saddest part of all, George Breakston is a sick, young kid who is so near to death, he's the only one who can communicate with Lionel's ghost.

If you're looking for light and fluffy silver screen pieces, stick with Bringing Up Baby or You Can't Take It with You. This one is heavy, and it definitely won't make you feel good in the end. It's good for Lionel fans, but I'd have a comedy on hand for afterwards.

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.