The opening scene of this picture, an immense factory on Chicago's waterfront, gave promise of big things that wasn't fulfilled. It is a strike melodrama and it was conducted and acted according to old- fashioned standards, which kept it from being very effective. It also has peculiarities that weaken it. The hero, son of the president of the company and sent to the scene by his father to handle the expected strike, had to ask the heroine, who was on her way with her father's pail, how to get to the works; he carried the pail for her as they walked ahead. This man's course all through the story is more or less unconvincing and in the end he is discredited. The girl went back to her old lover and gave him the cold shoulder after she had got his father to go over his head and end the strike. The object of such a melodrama is to demonstrate that love is stronger than all other ties, and to show the complicated and winding path it has to take to accomplish its ends amid the forces that a strike sets going. It ought not to be hard to do this. But the threads of such a picture must be clearly continuous or, as in this case, when we think we're getting a good mouthful, we find it unsubstantial. - The Moving Picture World, December 23, 1911