It is useless to protest that a Belgian war orphan would not be allowed to bring over her pet goat and rooster, when sent to the United States for adoption. Ella Hall does it in a Bluebird five- reel photoplay and gets away with a number of other exploits during the action of the story that are equally amusing when viewed from a safe distance. The first thing communicated to the spectator is that three well-to-do bachelors conclude to adopt a Belgian orphan apiece. All three suppose they are to become the fathers of boys, but the youngest man in the group learns on the arrival of the children that his foster child is a girl. He makes the best of the matter, even after he discovers that the goat and the rooster are also to become members of his family. There is plenty of comedy in the picture and a love motive is supplied when the little orphan arrives at the proper age and discovers that she prefers a husband to a father. This exchange is not accomplished, of course, without sufficient playing at cross purposes. In the meantime the transformation of the little emigrant into a charming young lady is well worth watching. Ella Hall's demure assumption of the part, her unaffected method of impersonating such youthful persons, have just the right touch. Her success in this line is a long one, and the little girl from Belgium is one of the most attractive of the list. The Moving Picture World, June 30, 1917
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