This meritorious film by the Vitagraph is destined to occupy a high place among moving pictures. History has not been searched in vain to procure an incident in which Mr. Charles Kent is able to display his histrionic ability; his portrayal of the illness and tragic death of King Edward the Third, will without doubt rank as a masterpiece. Besides filling its appointed place in an exhibition of first class pictures, its historical setting and importance places it among the best of those films which have educational value, and halls of learning will see this picture as often if not oftener than the photoplay theater. It will also prove valuable as an illustration of good acting for many a student with histrionic aspirations, as few characters require that thorough artistic conception which this presentation of the King commands. The vigor of the dying monarch in asserting his authority once again, is a surprise to his insolent attendants, who see a revival of his former power and are obedient to his behests. The coming of his paramour gives for the time being a new hope that he has not been entirely deserted, his former "Queen of Beauty" assuring him of her continued love and faithfulness persuades him to take a soothing potion which he had refused at his doctor's hands. Believing him to be in the sleep of death, the true duplicity of her character is shown as she stealthily removes from the King's hands his costly rings, and especially his signet ring. Other attendants entering discover this her perfidy and excuse themselves thereby in looting and despoiling the royal apartment. Upon awaking, the King, finding himself so thoroughly betrayed and despoiled, filled with the power of great rage, attempts to cross the room, only to sink back again in weakness and despair as he bemoans this natural result of his sins. Although forsaken by all, there enters at this moment a young priest bearing a cross, the sight of which is a comfort to the prostrate King, who stretches forth his weak hands and with a sigh of relief embraces it, falling back dead with the emblem of his faith on his breast. The story is wonderfully told, and the interest is held for every thought so graphically portrayed; not only will lovers of the play or pictures see and be satisfied with this production, but the student will welcome and praise it. It is to be hoped that this is but one of many of what will surely prove a most valuable series. - The Moving Picture World, August 12, 1911
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