[8][9] The film was not highly regarded by critics Ross Cooper and Andrew Pike who wrote "the production was static and graceless, with flimsy canvas sets and lengthy mute dialogues that relied heavily on the audience's familiarity with the play.
"[11] The critic from the Kalgoorie Miner said the film "represents quite an exceptional story of magnetic power and infinite charm and grace.
"[12] Theatre historian Ralph Marsden later wrote that: Although the film is statically photographed against the usual canvas walled stage sets, the photography is slightly more imaginative than in Officer 666, with a greater variety of shots, use of close-ups and, on occasion, some atmospheric lighting.
There are also tentative advances in pictorial composition, with figures set both near and far within the frame, rather than simply lined up on a single plane, as if on stage.
The adaptation fails, once again, because the scenario makes no attempt to properly interpret the lengthy dialogue exchanges for the silent screen.