A Star Goes Among Her Public

Colleen Moore Comes To Cleveland

See Master Atwill's Progressive Views Below

From strangest anomalies 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 from humble 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 have been 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."