Peg on the screen isn’t the full, rich racy character she was on the stage [in the play by J. Hartley Manners], but still stands head and shoulders over almost any comedienne the screen has. Laurette Taylor does a unique piece of work here. New to the camera, she masters that pitiless instrument by sheer naturalness and abandon.
She looks 20 and acts 16 with an exquisite grace that is memorable. Except for her deft and dainty comedy, the picture might be pretty tepid. But this consummate actress makes the little imp of O’Connell live.
Metro and director King Vidor have done handsomely by the production. It has some exquisite settings, authentic scenic background taken abroad, and interiors done in the best form.
It was inevitable perhaps that there would be changes, but it is not easy to see that it was necessary to resurrect Peg’s father and drag him through nearly a reel of picture at the start and bring him back for the finale. Peg gains sympathy from being an orphan. What was gained but footage to give her an absent but protective father?