Volume II: Filmography

THE OLD FOLKS AT HOME

October 24, 1913 (Friday)

Length: 1 reel (1,036 feet)

Character: Drama

Scenario: Lloyd F. Lonergan

Cast: Riley Chamberlin (the husband), Carey L. Hastings (the wife), Mignon Anderson

ADVERTISEMENT, Reel Life, October 18, 1913:

"The whole adventure was started by a picture a 'snap-shot' fiend took. It showed the old folks in their simple old-home garb, and they sent it to their son in the city. He was wealthy and didn't like to see his parents dressed that way. He brought them on to his fashionable city home and into fashionable city dress, and then the blow-off came."

SYNOPSIS, The Moving Picture World, October 25, 1913:

"The boatman and his wife were thoroughly happy, although they were not even well off. One day a young man dropped around with a Kodak, and induced them to let them take a snapshot. It turned out well and the couple were proud of it, and sent it by the first mail to their son, a wealthy broker in the city. The younger man's heart reproached him when he saw it, and he decided that it was shame to leave his parents in such poverty, so he persuaded them, much against their will, to live with him. They were treated kindly, but the habits of many years were almost impossible to overcome and they made a break for liberty, explaining that they would far rather work than be stylish. The old couple bought back their boat business and are as happy as the day is long. The broker's wife sometimes visits them, and in public is fond of boasting of her husband's people, whom she describes as 'belonging to one of our oldest families, and who live on their estate on the sea shore.'"

SYNOPSIS, Reel Life, October 18, 1913:

"Every little while, Mr. Lloyd F. Lonergan turns out a picture play which gets right down at the heart of things and exposes some social weakness in a human but humorous way. The Old Folks at Home is a case in point. An old boatman and his wife lived in a modest little shack on the seashore, thoroughly contented with their limited income and simple manner of living. One day, a camera enthusiast happened along and induced them to pose for him - Mrs. Boatman apparently being caught in the act of painting the bottom of a dory. By the sort of odd coincidence which is always happening in everyday life [sic; this is inconsistent with the preceding synopsis], the picture eventually comes into the hands of their son - a rich city broker - and gives him a twinge of conscience at the idea of his parents living in supposed poverty while he and his wife have everything they can wish. A hurried trip down the coast results in the old folks selling out their boat business and moving up to the son's home in the city, where they try to accustom themselves to an entirely different manner of living - wearing stiff and uncomfortable clothes, eating rich and unaccustomed food - being on dress-parade from morning to night. At last, they can stand it no longer (who could, after once knowing the luxury of the simple life?) and quietly leave the house in the midst of a reception given in their honor, leaving a note of explanation. They return to their own comfortable shack on the beach - buy back their old business - and we see them in the final scenes - thoroughly comfortable again - living their own lives independently and under obligations to no one. Every audience will be tempted to ask Mr. Lonergan where that comfortable old living-room is situated. It certainly exists - because we see it on the screen - almost too good to be true."

REVIEW, The Bioscope, January 29, 1914:

"Here is a really charming play. Its plot is of the slightest, and it evolves no elaborate emotional gymnastics. Yet, in spite of its simplicity of design and sentiment, it is infinitely more effective than dozens of fierce and intricate romances in which the atmosphere of real life and true human feelings are less perfectly preserved. It is a great pity that we cannot have more of such plays in place of some of the unconvincing travesties of life so often seen in some theatres; but, although these homely stories may appear easy to produce, they demand the very highest kind of art. The Old Folks at Home may almost be said to possess the 'Barry touch.' It is a delightful comedy, in which rare humour is mingled with delicate pathos, and there are few who will be able to resist its direct appeal. Its story tells how two old people leave the humble trade at which they are so happily occupied to visit their grown-up son, who has done well in the world and has married a very pretty wife. Like two children on a novel adventure, the parents are filled with amazement at everything they behold in the great city; but, after a time, the rarefied atmosphere of the social sphere in which their child moves becomes too much for them, and, leaving an apologetic note behind, they 'elope' back to their peaceful home in the country. It is a play without a villain or even an unpleasant character, but it holds one throughout. We have nothing but the warmest praise for The Old Folks at Home.""

REVIEW, The Moving Picture World, November 1, 1913:

"The son in the city writes to his parents to come and live with his family. The old folks go to the metropolis, but after several social experiences decide to go back home again. The characterizations are good and the story, while not very new, is pleasing."

REVIEW, The New York Dramatic Mirror, November 5, 1913:

"A drama showing the sad and sometimes humorous consequences of an old couple changing from a lifelong country existence to the newer surroundings of city life. It is a wholesome play with a good lesson, and is tinged with occasional humor. A passer-by, who takes a snapshot of an old boatman and his wife, starts the action. The boatman and his wife are busy working and living happily, when this chance tourist poses the old couple in the midst of their daily labors. The picture of the old couple is sent to their son, a wealthy broker in the big city. The picture of his old parents at work stirs up their son, and he finally wins the consent of his protesting wife for the old people to live in his house. The old couple give up their business, arrive in their son's fashionable house, and are very much out of place. The daughter-in-law disapproves of her husband's parents. Finally she gives an affair at her house, and the old folks are dressed up in style. The sight of the assembled guests, however, and the lights and styles to which they are unaccustomed, clinch their determination; they turn back, put on the old clothes, and return to the country where they are happy. A good film but with little opportunity for unusual acting. The director has given us a convincing atmosphere."

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