Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Lela The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Raymond Sierra The film may be flawed, but its message is not.

deickemeyer It is not often that this company presents a picture of the character of this one. Insanity, murder, self-destruction are not pleasant features to contemplate even though they are presented with extraordinary dramatic power. Unfaithfulness is presented in what is probably its true light, and while its consequences are not always so tragic, they are serious enough in all cases to make them abhorrent. One death, perhaps two, in this picture was due to haste. While the picture teaches the disaster that follows unfaithfulness, it also teaches the dangers of haste. Explanations are often possible in cases of this sort and had one man investigated before he acted there might have been two deaths less. On the other hand, while the film clearly lays the blame on the girl, there are those who will say that she had a right to change, that no wedding ceremony had been performed and that she had a right to renounce her vows if she chose. The picture raises a nice question in ethics which can scarcely be satisfactorily answered without careful consideration, and then opinions will differ. The views in the picturesque old fishing village and the sea are well worth seeing. - The Moving Picture World, September 3, 1910

Michael_Elliott Sorrows of the Unfaithful, The (1910) ** 1/2 (out of 4) Childhood sweethearts Mary (Mary Pickford) and Bill (Henry B. Walthall) are about to be married when a stranger washes up (Edward Dillon) and soon Mary falls for him. This doesn't sit well with Bill considering he's the one who saved the man's life and when the stranger learns of this he decides to do something drastic. It's not often you can blame Pickford for anything but I believe she's the main problem here as her performance is pretty much all over the place. You might also be able to blame Griffith here because her character goes from loving Bill to pretty much jumping on the stranger as soon as she sees him. This really doesn't work with the drama and Pickford's performance is so child-like that you can't ever really take it serious. Walthall clearly steals the film as the hurt boyfriend and Dillon isn't too bad either. One of the best moments in the film happens early on as we see Mary and Bill as kids and the way Griffith cuts this to the current times was nicely done. The film once again deals with morals, a strong point for the director and for the most part he handles the material nicely but Pickford's character certainly needed a few touch ups.

boblipton Mary has just gotten engaged to sailor Henry Walthall when along comes shipwrecked Edward Dillon, whom Mary fancies, but Dillon leaves because Walthall saved him and gave him a drink. But Walthall doesn't realize this and tries to drown him, to everyone's regret.Mary plays a lusty wench in this one, walking around with her shoulders held back, throwing glances over her shoulder and I can't quite bring myself to believe this performance, since it is sweet little Mary Pickford, but she does her usual fine job in the interior scenes.Interestingly enough, while most of Griffith's films shot at the seashore are quite beautiful, this one is shot among shacks and battered pilings, showing off the rough and strong emotions of the individuals concerned.