The Return of Peter Grimm (1935) User Reviews

Was It DeMille's Or Belasco's?

[bkoganbing · 7/10 · 3 November 2006]

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.

Entertaining and Funny-With Some Great Individual Performances

[aimless-46 · 7/10 · 3 November 2006]

"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.

Winning sentiment will touch the coldest of hearts.

[mark.waltz · 7/10 · 10 November 2020]

This film version of a play (allegedly written by David Belasco in the early 1900's) can be a great comfort to people who can feel the presence of the beloved departed when they are at their lowest in life. still up and walking around, Lionel Barrymore plays an old man who is against niece Helen Mack marrying employee James Bush. Barrymore dies suddenly and Mack is pressured to marry the dull Allen Vincent instead of the handsome Bush who genuinely loves her. Barrymore, feeling that he has left things undone, returns to make amends for mistakes and goes out of his way to try to reunite Bush and Mack in spite of the pressure put on Mack by the uppity but idiotic elder family members, Ethel Griffies and Donald Meek.

George Breakston plays a young member of the family who long to go to the circus with Barrymore whom he looked up to with great affection, and Barrymore hopes by returning that he'll be able to help him achieve that dream somehow. Certain members of the family do feel Barrymore's presence, and it's the family dog that first feel something present out in the yard that isn't earthly. Edward Ellis is very good as Barrymore's lifelong best friend remains a living guiding light to the survivors in mourning over his loss.

While Barrymore is mesmerizing and commanding, this performance is type of emoting that would leave him to be greatly imitated by other actors. Modern audiences might find him extremely hammy, but his performance works for theatrical fantasies like this one. Breakstone really holds his own in the scene where he realizes that Barrymore's ghost has come to visit him. This is perfect viewing as a double bill with 1939 "On Borrowed Time".

It's one of those teams that may have you reaching for a handkerchief although some people might the room so they're not caught feeling sentimental when they're on how maudlin and unrealistic the film is. indeed, this is the type of moving that people will view begrudgingly but come out enjoying even if they remain silent about how much they enjoyed it. It's that sweetness that makes this a classic that while not one of the most popular old movies certainly deserves to be seen to bring up the spirits especially around the holidays.

Intriguing tale with Lionel Barrymore in another strong role

[vincentlynch-moonoi · 7/10 · 7 June 2013]

Sometimes, when I read the reviews here at IMDb I wonder if I saw a different film. For example, one of the reviewers talked about all the comedy in this film. It's not a comedy, it a drama with occasional chuckles...just as is real life often.

And the story line description here on IMDb, which says that Lionel Barrymore's character is "Cantakerous, opinionated". Opinionated, perhaps. Cantankerous (check the spelling dear writer), no. This is an old man whom almost any of us would like having in our lives.

So, basically, our main character is set in his ways, and sort of tries to arrange his nephew to romance a young lady who works at the flower nursery, thinking it would be a perfect marriage. On his part, there's a spark. But on her part, there's none. But there is a lose agreement to marry, just minutes before the old man dies. Then the young lady does not feel she can change her mind. So, as an invisible ghost (except to us), Barrymore's character comes back to fix the mistakes he had set in motion.

Barrymore was just one of those special actors who could captivate you in almost any film...as he does here. His "On Borrowed Time" will certainly come to mind as you watch this...but fortunately, the young boy (who also dies at the end of this film) is played by a much more subtle actor than Bobs-Cry-A-Million-Tears-Watson. And, BTW, for those who think this is a comedy...yeah, there's nothing funnier than a child dying.

The supporting cast here is quite good. Helen Mack, as the young lady is quite good, although I am not very familiar with her. Edward Ellis as the doctor is just wonderful, and it you're into old movies, you'll recognize him, even if you don't know the name. It's always fun to see old fuss-budget Donald Meek, here as the mayor and neighbor. George Breakston is the child actor here, and he does very nicely. Allen Vincent, another actor that I am not familiar with, did well with the part of the man who is ultimately jilted.

As someone mentioned, this film moves a little slow, and that was not uncommon back in 1935. It's a good film, though, and worth watching at least once. Recommended, though it won't end up on my DVD shelf.

A photographed stage play

[JohnHowardReid · 6/10 · 10 March 2018]

Producer: Kenneth Macgowan.

Copyright 13 September 1935 by RKO-Radio Pictures, Inc. U.S. release: 13 September 1935. New York opening at the Radio City Music Hall: 3 October 1935 (ran one week). Australian release: 5 February 1936. 9 reels. 82 minutes.

SYNOPSIS: A kindly man (Lionel Barrymore) returns from the dead to set things right for his family and ensure the happiness of his ward (Helen Mack).

NOTES: A re-make of the William Fox 1926 movie directed by Victor Schertzinger, a Janet Gaynor vehicle with Alec B. Francis in the title role. Partly re-made (unofficially) by M-G-M as On Borrowed Time.

The stage play opened at the Belasco on 17 October 1911 and ran a wholly successful 231 performances. Belasco produced and directed. David Warfield played the title character.

COMMENT: David Belasco's creepy old melodrama rides again. Still, it could have been more gauche and admittedly director George Nicholls has handled its supernatural elements with considerable restraint-or maybe it was simply lack of imagination for his handling is otherwise quite undistinguished. On the other hand, the players are given the thumbs up to chew the scenery as much as they please.

The result is just like watching a photographed stage play. This impression solidly re-enforced by the lack of background music, although "natural" music forms an integral part of the three most dramatic sequences in the story, a device that derives directly from the original Broadway stage presentation.

A neat idea...but indifferently executed.

[planktonrules · 5/10 · 8 May 2022]

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 sixth sense

[dbdumonteil · 12 July 2015]

The Return of Peter Grimm (1935) is a very successful fable,part melodrama and part fantasy. Lionel Barrymore ,injecting more emotion in his scene with sick little William that you might think possible ,gives a memorable performance .

The séance in the dark which begins the movie is not gratuitous ,considering the second part of the movie.But there are also other great scenes:

-The death of the old man ,masterfully directed:the heroine,playing the piano and singing a wistful song (listen to the words),the dog desperately barking outside,and William rushing to the door,holding two tickets for the circus show in his hand ;

-The meeting,after the funeral,where people reveal themselves in their true colors ,selfish and self-interested would be friends ;the viewer does not know whether he should laugh or cry: the old dowager getting a portrait and the doctor with his prayer book

-All the sequences with the ghost ,another proof positive that you do not need a ton of special effects to impress and to talk to the heart ;unable to communicate with the unfortunate lovers ,Peter,returning from the dead ,meets a dying William and I dare you not to shed a tear when he "takes him to the circus".

Like this? Try these....

"The ghost and Mrs Muir" (Joseph L. Mankiewicz ,1947)

"Sylvie Et Le Fantôme" (Claude Autant-Lara,1945)

"Ghost" (Jerry Zucker ,1990)

VERY Slow Moving Story

[SCBRoslyn · 3/10 · 10 August 2012]

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.

Spook in the House

[movingpicturegal · 8/10 · 3 November 2006]

Well done fantasy about Peter Grimm (played by Lionel Barrymore), an old man who owns a nursery and holds household séances to please his friend the doctor, a man who believes that the dead can return in spirit form. A firm disbeliever, Peter believes in "raising flowers, not spirits" - but he does agree to a bet with the Doc that he will try to return and communicate with someone when he dies. Meanwhile, "Uncle Peter" as he seems to be known by everyone in town, decides to become matchmaker and push his pretty ward Catherine aka "Kitty" together with his jerk of a nephew - but she is in love with the male secretary who works at the nursery. Peter gets Kitty to agree to marry the nephew and make her "uncle" happy, then promptly drops dead only to find out when he actually does return as a "spook" (as he puts it) that the nephew is a scoundrel and about to sell the nursery. Now it's up to Peter to try to communicate with people (even though only the family dog can see him) to try and stop the ever dutiful Kitty from marrying the wrong man.

With a very interesting plot line and well done acting, I found this film to be highly entertaining. It is nicely photographed with softly filtered lighting, especially in the outdoor scenes, and the ghost image of Peter done with a sort of fogging over him as he walks through scenes, rather than the usually seen double exposure used to create a ghost on film. Lionel Barrymore is perfect in this part, playing his usual grumpy old man with a heart of gold sort of role. Kitty comes across as sweetly sensitive as played by the very slim-waisted Helen Mack, and young George Breakston (later seen as "Beezy" in the Andy Hardy films) is really excellent and quite memorable in his portrayal of the sickly grandson of the house cook. A very pleasant and engaging film.

Flowers Along the Way

[wes-connors · 8/10 · 14 August 2012]

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

Decent Fantasy

[Michael_Elliott · 11 August 2012]

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.