The Golden Cross

“This is a two-reel adaptation to the screen of the opera of the same name. It makes a very pretty scenic, medieval offering, with the spice of interest well scattered over the length of the film. And then, Maude Fealy takes the leading role. That alone is enough to ensure the film, whatever the subject, plenty of attention. She plays a capable and charming delineation of the part; there is plenty of chance for emotional interpretation of which this versatile artist takes the fullest advantage. She is strongly seconded in her efforts by the rest of the cast, who take a very close place in the order of achievement. The play as here presented, divides itself into two parts, the first reel being of the more artistic drama type, while the second is of the melodramatic hue. The second reel is thrilling; the first is artistically set and pathetic. The costuming is noticeable for its correctness. The settings for their artistry, the close-up views for their beauty and distinctness, the camera for its clear work, and the director for a smoothly running story, are all parts of the production that merit praise.

“The bashful miller finally proposes to his sister’s chum, and everything is under full sway for the wedding day. On the bridal morning he is ‘drawn’ and the soldiers come in the house, for he must enlist at once and fight the foe. A stranger, who loves his sister, volunteers to serve in his place when he hears the sister promise herself in marriage to the man who volunteers. In the battle, the villain steals a token by which he is to recognize the man who volunteered, for he insisted that this be done without her knowing who it was [sic; this is inconsistent with the review in The Morning Telegraph]. The villain comes back and claims his bride. Once more the wedding bells are ringing, and the ceremony is to be performed when the volunteer rushes in, stops the ceremony, proves his identity as the man who enlisted, vicariously, and claims his bride. Then he reveals his noble descent to her.”

“A Maude Fealy feature that we put into regular service to make you want her in four-reel Big Productions. This has struck us as a bully way to popularize the latter stuff, and to get you a feature for which a state-rights office would charge nice money....”