User Reviews

Thrice welcome in these days of monotony is the film that defies classification. None of the stale molds of "photoplay" or "comedy" or "scenic" or "educational" can express the lofty purpose, the sublime allegory, the superb scenery, the deep lesson, the hundred and one lesser charms of this reel, which is surpassed by none and equaled only by "Pippa Passes." It greatly resembles "Pippa Passes" in its conception and as the scene is laid in some wonderful gardens, over which is poured the crystal flood of California's light, it possesses one charm all and singularly its own. Like "Pippa Passes," it enlarges the boundary of moving picture possibilities and shows in an agreeably convincing manner that there are spheres for the film maker very much above the hackneyed photoplay. A tribute is due at the outset to the genius of the producer capable of conceiving and impressibly yet simply carrying out the idea which forms the basis of the film. "The Lords Gold," I borrow the words from the story of the titles, "Selfish, Folly, Presumption" have no power to heal, but the simple kiss of unselfish love brings back to the blind princess all the glowing glories of the sky. Such is the sum and substance of the moral, underlying this most sweet and original allegory, but what a compelling power in the pictures, and how easily they tell the story. Lofty as was the conception, it would never have left the producer's brain and stolen its insinuating way into the hearts of all who see it without the co-operation of the players. This co-operation was conscientious and thorough in the minutest particular. Of the thousand feet of film, not the fraction of an inch has been wasted; it is to the ordinary reel what the essence of ottar of roses is to its thousandth dilution. It is given to but very few to play so skillfully on heart and mind, to touch a hundred chords at one touch and to mingle with so much outward splendor a tale of the inward beauty of the human soul. We see the "Lords Gold, Selfish, Folly and Presumption" but a few moments, but in these few moments, with no effort but with most pleasurable sensations we realize what the figures represent; they need scarcely have been indicated in the title. "John Selfish slays the poet's only friend, The Child Equality," thus runs the title of a scene scarcely two minutes long, but how sharply the idea on the screen strikes into even the humblest intelligence. Take again the characterization of the poet, two or three strokes and we know as much as we can learn by reading the philosophy of poetry, and thus a vein of encyclopedic power runs all through the reel, a power most rarely found even in literature and quite unique in the history of moving pictures. To place this picture on the screen along with the ordinary products seems wrong; something more is due to it; it deserves to be well advertised, well featured in every possible way, for it is extraordinary in quality and outweighs a hundred common photoplays. - The Moving Picture World, August 12, 1911