- The film starts by showing a young married couple who laughed at the idea of old age. Several years later, the woman's hair is decidedly touched with gray. This is also apparent of the man's hair. A passing artist asks permission to paint her portrait. She points to the one hanging on the wall, which is a reproduction of herself in her younger days. The artist indicates that she has changed immensely since then, which so touches her, that she sends the artist away. Placing a mirror in front of her, she compares its reflection with that portrait of herself in her younger days. She perceives a decided change. The artist paints her portrait, and when it is finished she shows it to her husband, who taking her in his arms, tells her "she has never older grown."—Moving Picture World synopsis
- The first scene is supposed to take place at the time the song first made its appearance, and a young couple, evidently bride and groom, in their pretty country home, laugh at the idea of old age for either of them and at the idea that silver threads can ever make their appearance among the gold of their happiness. Then the scene shifts to later years, and the woman's hair is decidedly touched with gray, as is the man's. A letter from their grown-up son announcing his engagement to be married rather brings her a little realization of the passage of time, and on top of this a young traveling artist makes his appearance and asks permission to paint her portrait. She points to the one of the wall, a reproduction of her face as we saw it in the first scene of the little play, but the artist indicates that the portrait no longer looks like her, that her face is lined and that there are really silver threads among the gold now. The idea strikes her with a sudden chill, and she sends the artist away with the promise of an answer on the morrow, after she has through it over. Before the morrow comes she has a struggle with herself. Taking a mirror, she sits down before it and compares its reflection with the face in the portrait upon the wall. Slowly it comes to her that she is no longer young and beautiful, and then she watches her husband when he comes in, to see whether he has discovered this too, and whether his love has consequently grown cold. Although quite unconscious of anything impending, he does appear careless to her overheated imagination. She believes he has ceased to lover her. And so she allows the artist to paint her as h sees her at the present time. The ordeal is a very trying one for the woman, whose imagination is aging her more than all the preceding ears have done. When the picture is finished, with grief and despair heavily stamped upon her face. But when the husband finds the new portrait upon the wall, he declared that it doesn't at all resemble her, and going to the woodshed, brings back the youthful portrait and comparing her with it, enfolds her in his arms and tells her, in the words of the song, that "she has never older grown." He takes out the old song, seats her at the piano, and makes her go over the words: "Love is always young and fair;/ What to us is silver hair,/ Faded cheeks or steps grown slow/ To the heart that beats below?/ Since I kissed you, mine alone,/ You have never older grown." To the woman this revelation comes like a ray of light from above and positively transfigures her until she seems to have really recovered her lost youth, and the picture ends with the joy of two people who can never grow old, because they know love in its fullest sense.—The Film Index synopsis
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