A Fugitive from Justice

One wonders what object the writer of this picture had in view, what impression he desired to create. He shows ability in his construction. There are three qualities in every good dramatic production. They are clearness, smooth progress of incident, and interest. In this picture we find some of all of these; but precious little of the last and after all, with the people, it is the most important. In the early days the man who had committed some crime and was fleeing from justice used to be helped by a girl and he then found in her a sweetheart. This was the cause of much disgust. Then we found fugitives being helped and converted; but it wasn't found convincing enough. Of late, the helped fugitives are shown as biting the hand that helped them. At least it convinces,; but we can't sympathize with such a man; he disgusts most people. Now, looking merely at the present picture, is there any one with whom we can sympathize very heartily? The man and woman who warmed the viper at the hearth and got stung can be made interesting by true artists; but one reason why they are not in this case lies in the brutality of the man. When he has been fed in the cabin and both man and wife have lied to the sheriff, he gets up in the night and goes away with the man's gun and horse. And, next day, comes back in the man's absence and demands not only money but is taking the woman too. The picture is, indeed, most distressing. The characters are played skillfully. The badman by Burt King, the husband by Edgar Jones and the wife by Clara Williams. - The Moving Picture World, December 7, 1912