Francis X. Bushman's first starring feature for Metro is a rather strange vehicle with which to launch a new matinee idol, since its background is of British empire building and gives his profile little opportunity to be romantically exploited. Academically however, it is a fascinating film, not only because it enables us to present two widely contrasting romantic idols from different decades on the same bill, but also because of its pioneering work in camera mobility, much of which is truly ingenious. Its experimentation was not widely appreciated at the time, Variety commenting that the director not only kept his actors on the move but moved the camera at the same time, making it all terribly confusing. If ever there was to be a series on the moving camera, climaxing with Max Ophuls, this would be an invaluable opening offering! William K. Everson