Marion Leonard and David Miles are lovers who part on acrimonious terms. Parting takes its toll on him, while party girl Leonard appears untouched by the passing of time. It's a topic with potential - the different ways in which two lovers react to the failure of their relationship - but Griffith merely uses it to create what he hoped was a poignant finale. While his narrative skills remained primitive, Griffith continued to develop the techniques that would set him apart from his fellow filmmakers.
4 Reviews
Early Works of Film Directors-Review # 10: D. W. Griffith's Two Memories
tavm10 December 2021
This version I watched of this film had no music score playing so I watched this one completely silent. This gist of it was that a dying man writes a letter to his former lover hoping to see her again. That woman is quite popular with society and when she reads the letter, she laughs at it in front of them. But she goes to see him with her party following...This was one of Griffith's early forms of cross-cutting (between that dying man and his former partner laughing at his letter) that made him quite an innovator at the time. Perhaps too short to really make one feel for what's happening but quite good at conveying what's going on, nonetheless. Among the revelers was one Mary Pickford in one of her early film roles. She'd eventually become one of the earliest of what one would refer to now as a superstar of her profession. So on that note, Two Memories is worth a look for anyone who's a serious film buff.
Looking For A Story To Challenge Him
boblipton28 September 2018
Marion Leonard and David Miles quarrel. At first it seems nothing, but arguments grow more heated and they decide to part. Some time later -- long enough for the part in his hair to grow white with flour, though not hers -- he is seated in his study and, feeling poorly, decides to write a letter. As it is delivered and Miss Leonard -- whose wild temperament is indicated by the cigarette she takes a few puffs from -- shows the letter to the party, who grow merry. They decide to take the party to Mr. Miles.
It's nine months since D.W. Griffith took over at Biograph, and his command of film has grown immeasurably. The pantomime of the quarrel ranges from small, seemingly unconsidered gestures, to large, angry ones. His crowd scene at the party shows fine group dynamics and flow. Everyone is doing something that makes sense, including the last man out the door, making sure he has a bottle of champagne. Finally, the cross-cutting is there, from Mr. Miles in his room to the party, all working to raise tension as the race begins. It is not a race within the story, but one in the audience's mind: will they get there in time? Even though no one knows of any threat?
It's still a trifle of a split-reel melodrama with a heavy-handed message. The basic techniques, however, are finally in place.
It's nine months since D.W. Griffith took over at Biograph, and his command of film has grown immeasurably. The pantomime of the quarrel ranges from small, seemingly unconsidered gestures, to large, angry ones. His crowd scene at the party shows fine group dynamics and flow. Everyone is doing something that makes sense, including the last man out the door, making sure he has a bottle of champagne. Finally, the cross-cutting is there, from Mr. Miles in his room to the party, all working to raise tension as the race begins. It is not a race within the story, but one in the audience's mind: will they get there in time? Even though no one knows of any threat?
It's still a trifle of a split-reel melodrama with a heavy-handed message. The basic techniques, however, are finally in place.
Omitting Diversity
Single-Black-Male23 February 2004
Relations with diversity are at breaking point in this short film. The 34 year old D.W. Griffith continues to exclude the marginalized, demonizing them by constructing the self-identity of the American nation. One cannot help feeling that there is an identity crisis looming behind the scenes.
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