"A Ddaughter of the Poor," by Anita Loos, directed by Edward Dillon, is beautifully constructed, admirably handled and presented by a fine company in flawless shape. Bessie Love is ideal in her title role, her best interpretation thus far. In that there is a definite purpose, however, lies a great element of success. No great necessity for submerging the theme exists in a story so direct and simple, so it is permitted to shine in action and subtitle. It is social and therefore vital, the old cry from the depths of the less fortunate part of humanity and a generous response from people of wealth who acquire a wider consciousness of their duty through the unexpected contact with a very winning and aggressive little daughter of the poor and through a story about her written by a poor author who loves her dearly. The theme is big enough for thousands of live stories, but it is too often presented with disagreeable spectacles of martyrdom, and it is not easy to handle under any circumstances. It is very sweetly and delicately put in this instance. There is nothing theatrical about the director's work. He is visualizing a motion-picture story and he does it convincingly by motion-picture methods. Several of the characters beside that assumed by Miss Love stand out with cameo-like distinctness, notable that of her socialist and utterly incapable uncle impersonated by Max Davidson. Carl Stockdale, as the publisher, is decidedly convincing, and George Beranger, as the socialist writer, is very effective. The story is admirably typed throughout, a well- balanced composition dealing with subject matter of live interest, hence the release Will undoubtedly meet with approval almost universal. - The Moving Picture World, March 24, 1917
Review of A Daughter of the Poor
