A spectacular fire picture of unusual merit, "Out of the Ruins," is also a protest against those political methods which enable the owners of sweat shops and cheap factories to have reports on the fire perils of their buildings tabled. In order to evade the expense of complying with the requirements of fire inspectors, Abraham Hirschberg and his partner, proprietors of a large department store, obtain temporary release from providing their place of business with suitable exits and escapes. In this trap works "Miss 318," beloved of Fireman "No. 37." Their story is one in which the course of true love runs straight to the end, but a fire in the dry goods establishment brings out the true heroism of their natures. The fire occurs when the place is crowded with customers, among them the wife of millionaire Lancaster Varden and their only child, Priscilla. Wife and daughter become separated during the rush to escape and sweet little Priscilla is joined by "Miss 318" in some thrilling adventures. They are finally discovered by gallant "Fireman 37," and the three call for help at a window of one of the upper floors. Men on the roof of an adjoining building attach one end of a stout rope to the roof and throw the other end through mid-air to the fireman at the window. He fastens it securely and prepares to carry his loved one across. She yields the first chance to helpless Priscilla and stands watching them as her lover crosses hand over hand to safety, assuring the safety of both by extinguishing a blaze that catches the rope. In the general collapse of the building that follows the form of "Miss 318" is seen falling to an awning below. During the excitement preceding the rescue, Priscilla gives "Miss 318" a valuable and peculiar bracelet to wear, and this leads to a mistake of identity when father and mother search the hospital wards for their daughter, but their is a happy adjustment at the end, with bright prospects in store for the fireman and his bride-to-be. The scenes of conflagration are very realistic, and they are exceptionally well handled. The three principals contribute materially to interest by intelligent interpretation of their roles, and the entire cast, a large one, is one of well-selected types. In the minor role of Priscilla's mother, Nellie Grant is to be complimented for some fine revelation of feeling that is devoid of theatricalism. The picture should be a winner with any audience. - The Moving Picture World, April 3, 1915
