Perhaps this picture's source of power is chiefly in the heart- wringing tragedy of its situation. We are shown a white boy, carried off by Apaches from the red burning of his home. A "leader" then tells us that this boy has grown up and is known as "Apache Kid," the terror of the settlers. We now catch a glimpse of his band on the hillside and we see his resolute and relentless face just for a moment as he rides out of the picture. The expression of the man is good character drawing. It was wise to show him only for a moment at that stage, the picture isn't allowed to become commonplace; the imagination is left to hold it and add to it, unhampered, and the result is that a very deep impression is given of all that the situation implies. A white man, with all a white man's possibilities (this man suggests great possibilities), is shown riding thus. It is heart wringing. The rest of the film doesn't so much add to what has already been shown as bring it into clearer focus or put brighter light on it. In a scene following a truly realistic surprise and skirmish on rocky Arizona hills Apache Kid is captured. The colonel's daughter attempts to regenerate him with the logical result and its sad ending. This tragic close is not pleasant, but it is strong and logical. - The Moving Picture World, August 26, 1911
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