So beautiful are many of the natural color sequences in Redskin, which was launched last Saturday evening at the Criterion Theatre, that the spectators were impelled to applaud some of the lovely visions that greeted the eye. And, while this story is about as plausible as some of Douglas Fairbanks’ agile adventures, it is nevertheless most carefully cast and competently acted. The incidents, far-fetched though they may often be, are usually more gratifying than annoying.

Once again Richard Dix is to be seen as a man of copper hue. The last time he played an Indian was in The Vanishing American. This time he appears as a Navajo, a fine athletic and agile person, who becomes smitten with the undeniable charms of a Pueblo maiden named Corn Blossom. The scenes with the colorful blankets and other Navajo and Pueblo apparel and decorations are extremely well filmed. There is no fringing of the colors, but if one might presume to call attention to something that is hardly a grievous defect in view of the fact that it is at least constant, let it be said that the skies are pale green and anything with a light blue tint seems to become more green than blue. Now a pale green sea or a pale green sky, when viewed in the “shots” in this production, are by no means an eyesore.The desert backgrounds with the red rocks and canyons are most pleasing. And they are still more so when the Pueblos or the Navajos in colorful attire streak across the screen. Toward the close of this spirited tale, the screen suddenly widens to the full size of the stage curtain and one feels as though the players were brought closer to the theatre seats.

Mordaunt Hall, The Bootlegger’s Boomerang. A Technicolor Film. Stocks and Madness. On the Movietone. Other Photoplays, “New York Times”, January 28, 1929