From strangestanomalies comes this, a traveling
comedy-drama with In-Person Colleen Moore and directed by Lionel Atwill. The
time was October 1930, the place Cleveland.
Perfect Flapper Colleen was lately inactive in pictures and done with husband
John McCormick, who'd been credited producer on her output. She would
stage-render On The Loose, which sounds like another of jazz age trifles, but
that era was gone as mastodons, along with many who defined screen image by it.
The Cleveland Plain-Dealer had a woman named Inez Wallace to cover Hollywood and related
biz. She'd known industry folk out west long before they migrated from the
East, including moguls fromhumble start as showmen. Wallace refers to
thirty-one year old Colleen Moore as "an amazing child" whose stardom
defies logic, but stooped to dine at the star's home whenever in the film
capital. Here was plain-spoke as daily laid on locals by a columnist who had
privileged access, thanks to circulation of Plain-Dealer and sheets like it.
Inez Wallace knew value of a common touch and so wore humble hat in
dispatches, pleasing Cleveland
readership when she took deities like Colleen Moore down a peg or two. Any
publicity being good publicity, Moore took such
in stride and gave Cleveland
its fifty cent to $2.50 worth. For performing nearly half-a-so-far-life (since
1917), Colleen knew the biz in all its permutations. As to Atwill in charge, On
The Loose could not havebeen in firmer reins, him having directed on Broadway as
well as starred. Don't know how Colleen Moore would have fared with a man
once quoted thus: "All women love the men they fear. All women kiss the
hand that rules them ... I do not treat women in such soft fashion. Women are
cat creatures. Their preference is for a soft fireside cushion, for delicate
bowls of cream, for perfumed leisure, and for a master --- which is where and
how they belong."