Pola Negri, one of Hollywood’s choicest importations, is the reason for going to the Metropolitan this week, if one is not of that ever increasing Publix contingent which just loves to put Gene Rodemich on a pedestal and applaude his numerous gyrations. However, to give Gene credit, he does surround himself with a some-what more entertaining group than usual to celebrate his “Hall and Farewell” performances. Now that he is leaving Boston, for a while at least, the reviewers will have to give more attention to the feature film at the Babylonish picture palace. Pola Negri’s glittering photodrama “Three Sinners” is one of those pictures which thrill backwoods audiences and cause girls with limited wardrobes to leave home for Hollywood. The features of the hectic and soul-stirring tragedy are Pola’s bare back and-her silver wig. She handles both capably, so capably in fact that Dresden, Vienna, and Paris combined have nothing in the way of feminity to rival her. She portrays dramatically–a la bare back and silver wig–a woman whose ruined life was brought about through her husband’s indifference. A railroad wreck, gambling dens in full blast, interiors of choice Parisian restaurants, and sorrowful close-ups of Pola drenching her little girl with a shower of joyful tears at the end, make the picture very enjoyable for students leading suppressed lives and rebelling against the monotonous humdrum of Cambridge.