THE REGENT

Sun (Auckland), Volume 1, Issue 62, 4 June 1927, Page 19

THE REGENT

“STRANDED IN PARIS”

To be mistaken for a lady of fashion and wealth, and attended by every luxury as befitted her station, was the experience that Paris provided Bebe Daniels in “Stranded in Paris,” her latest Paramount production. Crowded houses at the Regent yesterday thoroughly enjoyed the farce. To begin with Bebe was in reality a humble little modiste. On her way to St. Po with some gowns for a wealthy client her tickets were mistaken for those of a countess going to the same resort. This sort of mistake could only happen of course In movie pictures. It would be more than the job of any railway clerk would bo worth to be so grossly careless. However, Bebe went on her way rejoicing to St. Po, and accepted the homage that the obsequious management were only too willing to thrust upon her. The situations that followed might have been staged in a French farce. Bedroom scenes, slightly risque, provided the audience with a good deal of entertainment, and caused the young lady in question some difficulty to explain away to her fiance. In order to establish her innocence Bebe, accompanied by a coach load of what she termed “explanations” chased her lover down a ravine. Thrills were provided in plenty. Eventually the coach and six, together with the “explanations,” which were in reality several guests at the hotel, landed in a ditch, and Bebe in her lover's arms. Bebe Daniels has done better work than in “Stranded in Paris,” which has all the farcical, situations which can be better exploded on the legitimate stage. Exellent support was given by Ford Stirling, Stirling actor and born comedian. Donald Stuart lb' 1 Mighty Man of Mirth > without very go» nuated figure ass' ,i attire, gives the :• . nky Donal, is a walkir . . crtheless the comedian li. i.:;;ng more to recommend him t'nan mere form. He is a juggler of merit. Amusing, too, are the asides of this old Tivoli favourite, who combines so much humour with his act that it is really difficult to decide whether Donald excels as a comedian or as a juggler. “Baby Face,” “Seventeen,” “Horsey. Keep Your Tail Up,” and equally fatuous frivolities, both ancient and modern, provided Eddie Horton at the Wurlitzer with inspiration for his song series. The slides, an old idea revived with considerable success in movie entertainment, were exceedingly popular. “Honeymoon Feet” was the comedy, while the Regent Review's pictorial description of recent Australian evehts was of much interest. The “Raymond” overture, by Thomas, was admirably played by the Regent Orchestra under the capable direction of Maurice Guttridge.