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Enoch Arden: Part II (1911)

 -  Short | Drama  -  15 June 1911 (USA)
6.3
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Ratings: 6.3/10 from 147 users  
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Annie remains faithful to her husband, Enoch, even though he's been lost at sea for many years. Finally her grown children convince her to marry Philip, her former suitor. Enoch is rescued ... See full summary »

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Title: Enoch Arden: Part II (1911)

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Cast

Credited cast:
Wilfred Lucas ...
Enoch Arden
Linda Arvidson ...
Annie Lee
Francis J. Grandon ...
Philip Ray
...
Teenage Arden Son
Florence La Badie ...
Teenage Arden Daughter
Rest of cast listed alphabetically:
William J. Butler ...
In Bar
Edward Dillon ...
Rescuer
Joseph Graybill ...
Dead Shipmate
Guy Hedlund ...
On Rescue Ship
Dell Henderson ...
Rescuer
Grace Henderson ...
Innkeeper
Henry Lehrman ...
On Rescue Ship
Jeanie Macpherson ...
Ray's Maid
George Nichols
W.C. Robinson ...
Rescuer
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Storyline

Annie remains faithful to her husband, Enoch, even though he's been lost at sea for many years. Finally her grown children convince her to marry Philip, her former suitor. Enoch is rescued from the deserted isle where he has been stranded, and returns home. He discovers Annie's new life, and decides not to interrupt her happiness. Written by Anonymous

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Short | Drama

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15 June 1911 (USA)  »

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1.33 : 1
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Featured in The Amazing Road to 'Move Over, Darling' (2007) See more »

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User Reviews

 
"Enoch's crowning sorrow"
9 July 2008 | by (Ruritania) – See all my reviews

Please see also my fuller comment for Part I.

In this concluding part, which should really only be viewed as part of a whole film with part I, Griffith continues to use subtle and considered technique to convey the emotional content. For example, the shot where Enoch and Annie's children look at a book with Philip Ray mirrors a scene in part I where they played as children. Annie sits alone in this shot, and you know she is thinking about Enoch. Griffith then cuts to a shot of the shipwrecked Enoch… and we know he is also thinking about her. Griffith is thus using the editing process to maintain a psychological link between two characters.

In the scene where Enoch watches his grown up family through the window, Griffith uses a close-up purely for emotional impact as he had done before in part I. One other thing to notice in this scene though –Griffith never actually got as far as developing the point-of-view shot, and this is a very telling example. We still see the room from in front, with the window Enoch is looking in through to the left of the frame. We never see the family as Enoch does.

To conclude then, Enoch Arden is a milestone film for Griffith. Today it does look a little corny and overwrought in places (Wilfred Lucas in his old man beard reminds me of Michael Palin's "It's…" man who introduced Monty Python's Flying Circus) but compared to the silly pantomime and point-and-shoot photography of many earlier films, Griffith's included, this is quite something.


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