European Tour

It was difficult to live in the cast: sleeping and breathing were difficult, forcing her to retire to her garden for much of her period of recovery. It was not all suffering... the prize she was to have been awarded at the WAMPAS Frolic had been found, and presented to her in bed.
Colleen was in her cast for three weeks, and once she was freed from it went straight back to work to complete The Desert Flower. In Silent Star, Colleen wrote that she looked forward to the European tour as a sort of belated honeymoon, as her cross-country tour for Flaming Youth, though billed by the press as a honeymoon, had been more about marketing the movie. While in Europe, she hoped to have time to discuss with John their future as a married couple. John had thrown himself into his career and especially into shaping and guiding Colleen's career. She would write in Silent Star that "Colleen Moore," the creation of the silver screen, had become the "other woman" with whom John was in love. Her image dominated his imagination, to the degree that he seemed to refuse the possibility that they might start a family because she was stillin his eyesa little girl.
The tour would turn out to be more about work than fun... not only in promoting So Big, but in taking advantage of their London setting to shoot exterior scenes for Colleen's next film We Moderns, a film that would end up a sort of English take on the flapper story explored in Flaming Youth.
“Colleen Moore, Husband Start European Trip...”
--Los Angeles Times, April 23rd, 1925, page A1.

Colleen in "We Moderns."

Set in London. portions of the film shot on location around London during Colleen's visit. Scenes on location directed by John McCormick.
Their trip across the country was followed by the press, as they stopped in many cities with First National franchises. Colleen was always eager to stay on good terms with the franchise holders, who she knew were her bosses. In New York they were greeted by a First National delegation led by Richard Rowland, who treated her to lunch. From New York she set sail for Europe aboard the S.S.

Among the people aboard the Majestic for the voyage to Europe were notable figures like Countess of Lauderale; Vicount de Sibour; Joseph Hoffman, pianist; and Serge Koussevitsky, Russian conductor. William Wrigley of chewing gum fame was aboard. One person was being deported back to Europe: the so-called "Emir of Kurdistan," who was in fact a grifter who had been scamming his way through fine hotels and shops in New York and was being sent back to ply his trade elsewhere. The idea of someone living under an assumed and more grandiose reputation would resurface again when Colleen made Her Wild Oat.

Their initial visit to England was a succession of mobbed public appearances,and interviews during which Colleen saw little of the city. In Paris she was a guest of honor, along with Alla Nazimova and other First National notables, at a banquet on June 3rd at the Restaurant Langer, Champs Élyseés, while in Switzerland Colleen hoped for a rest but they ended up visiting a string of towns like Lucerne, Geneva, Basle, Berne and Zurich. In Zurich, at the Café Huguenin a small dinner party was held for Colleen and her husband; not the result of publicist, it was pointed out, but the result of fortunate happenstance, given their presence nearby

John and Colleen on bus.

London, 1926.
at the Baur au Lac. Held in the upper floors, American and Swiss flags along with flowers decorated the walls and the table where some thirty people sat.  That same night was the premier of So Big at the Bellevue Cinema.

In Dublin, she was welcomed as if it was a homecoming, as she was still known as an Irish actress (her thoroughly American background notwithstanding). She appeared at the opening of So Big to discover a tremendous crowd awaiting her. She was there to promote Sally at the Scala and So Big at the Metropole. Colleen wore a salmon dress with a green taffeta cape, covered with feather plumes in lighter green. She and John managed to enter the theater and watch the film, but as the theater started to empty she was told that the crowd outside had grown to a mob. Police had been summoned. She was urged to go to the balcony overlooking the street and wave to the crowds in hopes that it would satisfy the crowd and it would disperse; she did so. Beside her, John waved too. He was elated by the crowds. The crowds, however, did not disperse, which made it nearly impossible for them to exit out the front. The theater manager suggested another exit, but John would not have it. He insisted they wade through the crowds to their car. The police cordon that was formed was insufficient to keep hands from reaching out for her, grabbing and plucking at the feathers on her cape. They plucked the cape clean by the time they were in the car.
Subpages (1): "We Moderns"