
Five and Ten
1931

1933
PassedDirector
Richard Thorpe
Runtime
65 minutes
Average Rating
No ratings yetSynopsis
Papa Strauss, a widower, is being shifted around from one married-son's home to the other, and is unwelcome at all because his daughter-in-laws' object to his smelly pipe smoking. Finally the family tucks him 'out of sight and out of mind' into a nursing home, with very little 'honor thy father' thought given to it. However, unmarried daughter, Lena, who loves her father dearly, has a bright fiancée, who makes a lot of money off of a patent, and they make a home for him.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film operates within a strictly heteronormative framework. There are no discernible LGBTQ+ characters or explorations of non-normative identities.
Gender Representation
Lena provides the film's emotional agency, yet female characters largely function within traditional domestic roles. The conflict centers on friction between daughters-in-law and the patriarchal figure.
Racial & Ethnic Diversity
The narrative focuses on a homogeneous, white-centric social structure. There is no evidence of racial blending or characters of color with meaningful agency.
Religious & Cultural Diversity
The story explores the breakdown of the nuclear family and traditional Western duties. It ultimately reinforces social stability through a new, conventional domestic unit.
Disability Representation
There is no evidence of characters with visible or invisible disabilities within the narrative.
Strengths
Areas for Improvement
AI Analysis
Forgotten is a standard 1930s melodrama that reinforces the social and domestic hierarchies of its era. The plot follows the displacement of a widower, Papa Strauss, by his sons, only to be rescued by his daughter's romantic and financial success. The film lacks intersectional complexity, presenting a homogeneous worldview. It relies on traditional familial structures and socioeconomic status quo rather than challenging existing power dynamics or exploring diverse identities. While the daughter provides a central emotional arc, the film remains firmly rooted in the conventional cinematic constraints of the early 20th century.

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