Lotte Eisner wrote, "The Porten film, with its harmless bluffing manoeuvre, is developed in extension not in depth.

Walter Reisch's manuscript, which doesn't miss out on any comic effect or cuteness but only just sails past emotional complexes, explains that.

And Carl Froelich's direction is responsible for this development lacking depth as it cannot do enough with individual moments in the depiction of the milieu, piles small ideas on top of each other and thus deprives itself of its overall effect".

[2] Leo Hirsch from the Berliner Tageblatt was more positive commented, "The purpose of this exercise is to show that life is not really like this and like that, but it could, perhaps, if one were lucky, be like this and like that, namely happy, cheerful, beginning good, end better.

"[3] while Hans Sahl stated, "The woman everyone loves is still Henny Porten in the opinion of the German distributors, although her well-behaved masking lust, winking at the audience, is also a little heavy and full-bodied this time.