New-York tribune., 1922-10-03
On the Screen
'Remembrance,' Created En-
tirely by Rupert Hughes,
Hymns Praise of Father
BY Harriette Undcrhill

However unsatisfactory our explana-
tion may be to others when we tell
why a picture is not good, those ex-
plantations are always quite convincing
as FAR as we are concerned SO it is
rather disturbing to find that we did
not like Remembrance" as we'll as we
expected to and still are not able to
identify the cause Of the disturbance.
1t is like the doctor who says Put
your finger on the sore spot" when
you tell him that you have neuritis in
your arm.
We don't seem to be able to put
our finger on the sore spot, but IL Is
there, nevertheless. because The pic
ture leaves nothing to be desired in
the first reel or so and yet the finished
product is unsatisfactory.
When Claude Gillingwater says sue
cinctly "How much ?" to each member
OF his family as one by one they ap-
plonch him at his desk the picture ia
perfect, and 80 it is in plenty Of other
scenes too.
This Remembrance" at the Capitol,
is the first picture made entirely by
rupert Hughes. He wrote the story
and also directed the making of it into
p|iotoplay. In this he receives noble
support from that most excellent actor,
Claude Giliingwater, who makes Pop
Grant figure quite as appealing rs
was "Mother" in "The Old Nest" It's
about time some one said a word for
the fathers, although we come from n
family where being male meant that
you were lord of creation, and that
all you had to do to produce historical
nlerriment among the female members
or the family was to be pleasant some
times.
"Pop' Is Merchant
But "Pop" Grout was not that sort. He
owned the biggest dry goods emporium
IN town and he never had the time nor
money to dress up. The rest of the
family climbed the social ladder until
finally they dressed for dinner, which
was announced by butler. 1t was at
times like this that "Pop" lived with
his memories. He thought of how
"momma," young and strong, after
cooking the Supper" used to saw.
What we got is all ready on the table.
Coming?' But he never dared to men
tion this to the naughty dame who now
presided at the table. And then he fell
III and, during his delirium he talked
his memories and "momma" and all the
children vowed that they had been
brutes, and if he should be spared they
never would do so any more They
gathered at his bedside and had said
their last farewells when "Pop" sud
denly opened his eyes and said, "Goshp
Then he got better rapidly, and .hcy all
remembered their vows and stopped
being parasites.
And now it has come to us where
the fault lies. We can put our finger
on the spot. Mr.. Hughes takes Ave
reels to tell the beginning of the story
and only one to straighten everything
out. Complications are adjusted in a
single title, and the loss Of some i'm
portant papers and their subsequent
discovery lead nowhere at all Neither
does the hint of the mysterious woman
who had loaned money to j. Pennock
Grout, the eldest son. This may have
been in the cutting, because we saw a
"still' in the lobby (no not that sort
which portrayed J. Pennock with his
mother grasping the arm Of strange
woman who was about to discharge a
pistol at her son. There was nothing
like that in the story. But the cutting
would account for the peremptory dis
mlssal of the various complications
Mr. Gillingwater does the best work
he ever has done on the screen as
Pop Kate Lester is very good as
"momma," and others who help are
Richard Tucker, Cullen Lands, Patsy
Ruth Miller, Dana Todd and Nell Craig.
The overture was Tchaikovsky's |