Cast overview, first billed only: | |||
Henry B. Walthall | ... | John Howard Payne | |
Josephine Crowell | ... | Payne's Mother | |
Lillian Gish | ... | Payne's Sweetheart | |
Dorothy Gish | ... | Sister of Payne's Sweetheart | |
Fay Tincher | ... | The Worldly Woman | |
Mae Marsh | ... | Apple Pie Mary Smith | |
Spottiswoode Aitken | ... | James Smith - Mary's Father | |
Robert Harron | ... | The Eastener, Robert Winthrop | |
Miriam Cooper | ... | The Fiancee | |
Mary Alden | ... | The Mother | |
Donald Crisp | ... | The Mother's Son | |
James Kirkwood | ... | The Mother's Son | |
Jack Pickford | ... | The Mother's Half-Wit Son | |
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Fred Burns | ... | The Sheriff |
Courtenay Foote | ... | The Husband |
Over the protests of his mother and sweetheart, writer John Howard Payne leaves home seeking adventure. In England, he becomes involved with The Worldly Woman who rebukes him after he returns penniless from debtors' prison. He travels to France and then Tunis, where he dies, leaving only the song "Home, Sweet Home" as his legacy. In another story, Apple Pie Mary, a cook in a mining camp, loves a young man who goes East to marry a wealthy woman. He hears the song, however, and returns to Mary. The next story concerns a widow with three sons. When one son kills another over money, the grief-stricken widow wants to commit suicide, but she hears the song and decides to live for the sake of her third son. The final story involves a young wife who plans to leave her older husband for a younger man. As she hears the melody played by a violinist in another apartment, she decides to stay with her husband and the two raise a family. Finally, Payne is seen in a pit, imprisoned by Lust and Greed.... Written by Pamela Short
The idea of joining together four different narratives with the theme of "Home, Sweet Home" works fairly well in this early full-length D.W. Griffith feature. The account of composer John Howard Payne's own life is interesting for the way that it puts his well-known song in context. The other three stories vary in quality, but all are at least worth seeing. The format seems to have been a hedge against the possibility that releasing the whole thing as one picture might be unsuccessful. But Griffith and others would soon make better use of the multiple narrative idea, making this feature of some interest historically.
Of the three fictional stories, one is mostly routine (the young married couple), one is pretty good (the young man heading out west), and one is somewhat interesting but heavy-handed and unconvincing (the two brothers). All of them are similar to familiar kinds of one-reel dramas from the era. None of the stories are particularly memorable, but they're not bad either. As a whole, the idea and the material are good enough to make it worth watching.