A feature film is always eagerly welcomed by exhibitors, and it can be assured that this release will prove a splendid addition to the program of the week. Madame Roland, the heroine of the story, was born in Paris in the year 1754, and was guillotined in the year 1793. She was an extraordinary woman, a talented writer, and a brilliant conversationalist; her house became a political center frequented by the leaders of the Revolutionist, especially of the conservative faction known as the Girondists. The film opens with a few descriptive sentences, and then cleverly introduces the leading characters, one at a time. This gives the story a more realistic and historic significance. Madame Roland is first seen in the parlor of her house, haughtily rejecting the attentions of her admirer, Viard, a secret agent of Robespierre. The scene then shifts to the hall of the Legislature. Her husband holds the office of State Secretary, and is presiding at the meeting. And an exciting session it is; Robespierre, Viard. and Marat, the most violent of the Terrorists, oppose in no uncertain manner every act or resolution of the speaker. !t was one of the incidents that marked the decline in power of the Girondist faction, and the ascendancy of the star of Robespierre. Seeking vengeance against Madame Roland, Viard brings charges of reactionary tendencies against Roland and his wife. The former manages to make his escape to Rouen, but the latter is arrested by the soldiers of Robespierre, and taken before the Revolutionary Tribunal. In a remarkable trial scene, Madame Roland defends herself in such a manner that an acquittal is granted. But Viard succeeds in having her arrested again on a new charge. This time the fates are against her, and she is thrown into prison. There she writes her, famous "Appeal to an Impartial Posterity." Many clever touches of realism are introduced here. Among them is where she goes to the barred windows and waves a last farewell to her friends going to the guillotine, knowing that a similar fate awaits her. We next see Madame Roland riding on the "fatal cart," a scene which is tremendously effective. A large crowd of the Revolutionists, in their garments of every description, are wildly gesticulating and brandishing their crude weapons. The film closes with Madame Roland standing upon the guillotine, keeping her nerve to the very end. Majestically bowing to the statue of Liberty, her heart bursting with passion, she cries out those famous word, "Oh, Liberty! What crimes are committed in thy name!" - The Moving Picture World, March 16, 1912