I wanted to but couldn't!

Although it has its amusing moments, in eneral the plot does not convince.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

One of the most extraordinary films you will see this year. Take that as you want.

So many director's could learn from this. White-knuckle suspense, an excellent set-up and pay-off, and it keeps things barebones enough so that you know just enough about the characters to care about them (perhaps unconsciously the children are all dressed in white to emphasize the innocence, might seem obvious or not to some but it's visually a wise decision), and how Griffith keeps up the tension between the woman calling up her man to get help, the attackers breaking in to each successive room, it seems as if this is a landmark in a lot of ways. It's directed without an inch of story fat, and the stakes keep getting tighter as the men go from one room to the next and the women can't keep them out. It may be resolved just a little too quickly, but maybe not. It seems to end at just the point it's supposed to. I love it and it's one of the best of the earliest short films out there (and hey, Mary Pickford!)

"Thank God, they're saved!" said a woman behind us at the conclusion of the Biograph film bearing the above title. Just like this woman, the entire audience were in a state of intense excitement as this picture was being shown. And no wonder, for it is one of the most adroitly managed bits of bloodless film drama that we have seen. From the moment the picture starts all is expectancy. Indeed, when we saw the picture at Fourteenth street, the house literally "rose" at the story, it is so closely, effectively and convincingly told. As good a piece of sharp, rapid, decisive, dramatic work as we have seen. As is usual nowadays, with all Biograph stories, and the Biograph Company certainly have the art of getting hold of good stories, this one is finely photographed. The acting, too, is of a high order. The villains are villainous, the husband very realistic in his agony, especially at the telephone, whilst the Biograph heroine is as handsome and graceful as ever. We really felt inclined to kick that burglar man for so unceremoniously stripping the jewels from this fair lady's neck. "Lonely Villa" is another Biograph success. – The Moving Picture World, June 19, 1909

This was not the only film like this that D.W. Griffith made, as he later made a very similar one with the Gish sisters in similar straights. Regardless, it is very exciting and holds up well today.The film begins with a husband being lured from his home by some evil thieves. As soon as he's gone, the crooks break in and the wife takes her three daughters (one is Mary Pickford) into an adjoining room to safety. There she barricades the door against the three scum-bags. Just then, the husband calls and the wife tells him of their plight--and he rushes home to try to save them. Will he be too late? This is a very, very simple plot and works effectively. The acting is reasonable and the action exciting. A very good film for its day.

This is a decent short drama that creates some fairly good suspense with a story of a mother and her children being attacked by a gang of deceitful and brutal thieves. For its time, the story is told pretty well, shifting scenes at times to heighten the suspense. It does get a bit choppy in places, and things don't always fit together smoothly, whether due to the editing or perhaps simply due to its age. (It just doesn't seem to be as carefully pieced together as many of Griffith's short films.) But it's all watchable, and the story makes you want to find out what will happen. It should be interesting enough for anyone who likes these early short melodramas. A young Mary Pickford also has a small role.