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Release Date:
15 June 1911 (USA) See more »
Annie remains faithful to her husband, Enoch, even though he's been lost at sea for many years. Finally... See more » | Add synopsis »
User Reviews:
"Enoch's crowning sorrow" See more (7 total) »


  (in credits order)

Wilfred Lucas ... Enoch Arden

Linda Arvidson ... Annie Lee
Francis J. Grandon ... Philip Ray

Robert Harron ... 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
Charles West ... In Bar (as Charles H. West)

Directed by
D.W. Griffith 
Writing credits
(in alphabetical order)
Linda Arvidson 
Alfred Lord Tennyson  story

Cinematography by
G.W. Bitzer 

Production CompaniesDistributors

Additional Details

Also Known As:
17 min (16 fps)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:

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3 out of 4 people found the following review useful.
"Enoch's crowning sorrow", 9 July 2008
Author: Steffi_P from Ruritania

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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