PLAZA AND TIVOLI

Sun (Auckland), Volume II, Issue 572, 26 January 1929, Page 16

PLAZA AND TIVOLI

COLLEEN MOORE IN ‘OH, KAY” Whether Colleen Moore plays in j romance, tragedy or comedy seems to j be of small importance, for she may be depended upon to be equally enjo3*able ; in each. Her latest, and possibly most enter- j taining picture, “Oh. Kay.’” is an uproarious farce comedy, which delighted , the audience at the Plaza and Tivoli j Theatres again last evening. Taken i from the amusing musical comedy of I the same name, “Oh, Kay*” has been developed into a screen farce seldom surpassed in the number of hearty : laughs included, Colleen’s saucy j personality dominating the humorous I action throughout. “Oh. Kay!” brings home the truly amazing versatility of talented Miss j Moore, for her appearance in this j gay comedy follows an equally success- i ful excursion into the field of serious 1 drama, during which she made one or ! two exceptional pictures, particularly ! “Happiness Ahead,” a wistful • love j story. From the moment of a decidedly clever introduction of Colleen until the novel fade-out, “Oil. Kay!” offers en- • tertainment for the whole family, from baby to grandfather. The central situation of “Oli, Kay!” provides an amusing structure upon which the director has built an edifice of laughter. Colleen Moore, as Lady Kay Rutfield, is being forced into a distasteful marriage, and in a sulk goes sailing in her tiny sailboat. A storm arises, and she is picked up by a rum-laden schooner. bound for America. Rather than return to England, she escapes from the ship when it anchors off Long Island to cache part of the cargo in an empty mansion, and is chased by a revenue officer into the empty house, where she is confronted by the young owner. The subsequent action takes place in this setting, with Kay and the young man hopelessly in love, despite plans for the boy’s marriage next day. The humorous liigli-point of the story is the pre-nuptial luncheon, at which Kay officiates as serving maid in order to explain her presence in the boy’s home. The manner in which she and a tipsy butler interrupt the orderly procedure of the luncheon is both original and screamingly funny. Miss Moore’s supporting cast in “Oh. Kay!” is unusually good, Lawrence Gray plays opposite the star, with Alan Hale, Ford Sterling, Claude Gillingwater and Julanne Johnston in other prominent roles. The second picture on the programme at both theatres is “Poppies of Flanders.” This picturisation of Lieut-Col. John McCrae’a poem, “In Flanders Fields,” which was adapted for the screen by “Sapper,” makes one of the most powerful screen attractions that have been seen for some time. The leading character is played by Jameson Thomas, renowned throughout England as one of the Empire’s most brilliant actors, and if “Brown” is any criterion of the work that cinema audiences can expect from him, his name •will be sufficient to warrant patronage when his next picture is announced.

He receives excellent support from Eve Gray and Malcolm Todd.