COLLEEN MOORE’S BEST

Sun (Auckland), Volume III, Issue 642, 19 April 1929, Page 15

COLLEEN MOORE’S BEST

“SYNTHETIC SIN” AT PLAZA ALSO “MICHIGAN KID” If Colleen Moore were not already established as the most delightful comedienne on the screen, her portrayal in “Synthetic Sin” would place her at the top of the list. For “Synthetic Sin,” which opened last night at the Plaza and Tivoli Theatres, is unquestionably one of the most entertaining comedy-dramas filmed, due largely to the clever work of vivacious Colleen in the stellar role. Combining qualities of humour, romance and melodrama in a far stronger plot than most comedies contain, this laughable* picture is fully deserving of the enthusiasm with which it was greeted by last night’s audience. “Synthetic Sin” is the story of an unsophisticated little girl from Virginia, whose ambition to be a great actress leads her into a series of adventures as amusing as they are exciting. Having failed dismally in her first stage appearance, she determines to go to Xew York and “sec life,” the better to equip herself for the realistic - portrayals demanded by the modern stage. Her obvious innocence and sweet personality defeat her purpose, and she finds the inhabitants of the underworld striving to protect her, instead of permitting her to gain the “experience” she wants. The story builds to an hilarious climax, in which she becomes involved in a deadly gang war, which she refuses to take seriously until she finds herself under arrest. Colleen’s genius for comedy action has never been more effectively illustrated than in a sequence in which she appears in the black-face make-up of a Topsy. Xot only are her awkward antics screamingly funny, but they are truly amazing to one who has seen her many other roles. The underworld sequences of “Synthetic Sin” suggest something of satire on the many crook pictures of the past year, the enthusiasm with which gangsters, painted women and speak-easies are mixed into the action being entertainingly exaggerated, yet at the same time convincing. Antonio Moreno, as Miss Moore’s leading man, is entirely satisfactory. A combination of photographic beauty and dramatic effectiveness combine to rate “The Michigan Kid.” the second big picture, high in the ranking of cinematic effort. Renee Adoree and Conrad Xagel are costarred in Universal’s photodramatisation of the famous Rex Reach novel. In the supporting cast are Lloyd Whitlock, Virginia Grey, and Hick Palm. Conrad Xagel has become one of the he-men stars of the screen, and adds to his laurels in this drama of the Alaskan goldfields. A few years ago he was the passionate lover type, but the demand for such types fell off and Xagel quickly adjusted his technique to playing the underworld men and gamblers. Another of the bright “Collegians” pictures, a comedy and gazette, complete the entertainment. At 'the Plaza Theatre, Mr. Howard Moody’s orchestra played “In a Persian Market” for the overture, and the following incidental music: Selections, “Coliseum Mixture,” “To-night’s the Xight”; suite, “Four Fancies,” “From the South,” ‘Summer Hays”; Morceau. “Invitation to Waltz,” “Giving to Guy O’ Hartelots Songs": opera, ’La Traviata,” and fox-trotts, ‘Lucky in Love” and “There are Lyes.” “Widecombe Fair” was very success fully trade-shown at the London Hip podrome recently. The critics were unanimous in their opinion that this film was a definite victory for British production. William Freshman and Marguerite Allen are co-starred in this production, which is one of Cinema Art Films’ important releases for this year.