PRINCESS AND TIVOLI

Sun (Auckland), Volume I, Issue 293, 2 March 1928, Page 15

PRINCESS AND TIVOLI

COLLEEN MOORE IN “HER WILD OATS” Colleen Moore has made many excellent pictures, and her latest work, “Her Wild Oats,” now Included on the bill of the Princess and Tivoli Theatres, is another link in a chain of brilliant successes. Few comediennes, if any, have so captivated the motion picture world as vivacious Colleen Moore has done. This latest effort finds her just the same mischievous, provoking, sweet personality that won her the eminent place she holds in the hearts of picture patrons here and everywhere. “Her Wild Oats” has justly been acclaimed as Miss Moore’s gayest comedy, surpassing even “Sally” as a lightsome, scintillating, laughter producer. This delightful story tells of the longing of a little lunch-van proprietress to taste the whirl and glitter of high society. Influenced by supplement stories of how the rich live, written by an imaginative newspaper man, Mary Brown leaves her stall and spends the earnings of years to achieve her ambition to become a lady of fashion. She sets out to conquer an exclusive Plymouth beach and fails ingloriously. While running her lunch stall she meets Philip Latour, played by Harry Kent, a wealthy young man, who stops for a cup of coffee after having been robbed by bandits. He is dr€!ssed in the old overalls he was forced to don in place of his stolen evening suit. When Mary steps into society he loses sight of her for the time being. Mary’s hopes of becoming one of the elect are abandoned when Tommy Warren, the newspaper writer, comes to her rescue with an ingenious plan whereby Mary assumes the role of “Duchess de Granville.” The duchess, adorned with a blonde wig, arrives by airplane, takes the royal suite in an hotel and runs up enormous bills. Plymouth beach opens its arms, tolerates her picturesque slang and numbers Mary among the elite. Philip Latour again comes into her life, and she is startled to learn that he is the son of the real Due de Granville. Meanwhile Mary’s creditors come in hordes for their money. The stricken butterfly fades back to her stall, but love is triumphant. Not for months has such a meritorious story, so well balanced .with humour and pathos, appeared in Auckland. The personality of Colleen Moore stamps any picture with the hallmark of excellence. In additi<*n another attractive tale is being shown under the title of “Nobody’s Widow,” starring Leatrice Joy. This is a comedy-drama much above the ordinary. The fact that Cecil B. de Mille made it is sufficient recommendation. In all it was a first-class show, which the large audience was quick to appreciate. The high standard of orchestral music for which the Princess is noted was fully maintained by Mr. Howard Mooody and his Salon Orchestra. The overture was entitled “Lucky Day,” by Henderson. Other selections from popular and classic composers were tastefully rendered. “The Circus,” Charles Chaplin's only picture in two years, had its world premiere in New Y'ork at the beginning of January, according to a message received from United Artists’ head office. The film was received as anticipated. a discriminating body of spectators confirming the United Artists’ star’s reputation as a comedian of rare genius. The abundance of the tragicomic situations in circus life proved just the thing for this artist’s unique technique. “The Circus” is to be screened shortly in Auckland,