Erich Von Stroheim turns out Mae Murray in the most gorgeous production [adapted from Franz Lehar’s operetta] she has yet had. Murray has never previously looked as well as she does before Oliver Marsh’s camera. Some of her close-ups are nothing less than superb, while the lighting, practically throughout the entire picture, is a revelation.
Von Stroheim has eliminated a number of captions by symbolizing. Distinct credits are the freezing of rain upon a window to denote the passing of time, a royal funeral suggested through a corps of muffled drums descending a long flight of stairs, and the brilliant silhouetting of gems adorning Murray to the exclusion of her face and figure when gazed upon by the mercenary Prince.