This multiple-reel subject is not only over-melodramatic, but in various places shows carelessness in construction; the doing of improbable things in order that desired results may be obtained. For instance, that the villain may have knowledge of the contents of a letter the maid leaves the envelope, which is unsealed, on a table, the bold bad man being in the same room. Again, when the true lover is sent through a trap door into the sluiceway no attempt is apparently made to learn who was responsible for the attempt on his life. A man who poses as a doctor and who writes prescriptions has not been shown to have any knowledge of medicine. There was nothing indicated as to any attempt by a doctor to put the police authorities on the trail of the false one who throttled him into such sudden unconsciousness. In one scene the heroine enters the picture on one side just as the villain, unseen, goes out of it on the other. The sinking canoe was palpably on the bottom of the river. The real doctor, from behind a curtain, sees a nurse accomplice administer medicine to the patient, and in spite of the fact that it may be a poison, he makes no attempt to stop her. When the real doctor is kidnapped and taken across the lake on a cabined motor boat it is on the top of the superstructure that he is bound, where he may be seen plainly; the object, of course, is to permit the aviator to discover him. When the doctor was seized and taken from his patient's home the heroine made no attempt to notify the police. The use of double exposure where the restored patient appears to the bogus doctor was unnecessary; it would have been more convincing had he appeared in the flesh. - The Moving Picture World, January 3, 1914
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