With all the gay spirit of her name, "Zaza" dances and twirls her petticoats and darts exciting French eyes to the farthest corners of the University Theatre. As a vivacious music-hall entertainer, Claudette Colbert finds a part suited to her temperament, and handles her high kicks and train of suitors with the same refreshing ability. But when necessities of plot turn her heart towards a rich, Parisian businessman, only stuffy and always noble Herbert Marshall is available to reap the profits. It was a sad mistake for the producers to import Mr. Marshall from the dignity of his Paris apartment to the wild charms of music-hall life; also sad is the change forced on Bert Lahr, who has been transported from his usual garden of foolery to the role of Zaza's faithful partner. Even the erratic foibles of Helen Westley fail to inject a real sparkle into the picture. With a more personable male lead, and a plot just a bit more complicated than its two-sided triangle, "Zaza" might have provided real film relish.

"Mr. Moto's Warning" comes too late-by that time the audience is seated. The shackling of Mr. Lorre to such over-sterile parts is as brutal as his own Oriental hari-kari.