TELEVISIONTIME LISTINGS
Thursday, October 29 BEWITCHED (ABC, 9-9:30 p.m.).* Guest Shelley Berman plays a candy king whose plans to incorporate broomstick uglies into his Halloween advertising campaign arouse the ire of housewifely Witch Samantha (Elizabeth Montgomery).
REPUBLICAN NATIONAL COMMITTEE (CBS, 9:30-10 p.m.). Speech by Barry Goldwater. (Also election eve, same time.)
PERRY COMO'S KRAFT MUSIC HALL (NBC, 10-11 p.m.). In the first of this season's seven Como specials, Perry offers Anne Bancroft, Stanley Holloway and Victor Borge.
Friday, October 30
INTERNATIONAL SHOWTIME (NBC, 7:30-8:30 p.m.). The Berlin Ice Revue glistens with European skating champions, skating comedians, acrobats and lavish production numbers.
THE ADDAMS FAMILY (ABC, 8:30-9 p.m.). Halloween with the Addamses is suitably ghoulish when Morticia and Gomez welcome bank robbers to their cobweb-hung manse as trick-or-treaters.
THE JACK PAAR PROGRAM (NBC, 10-11 p.m.). Excerpts from Julius Monk's rollicking and timely Plaza 9 revue, Bits and Pieces. Color.
Sunday, November 1
SUNDAY (NBC, 4-5 p.m.). Voter-in-the-street interviews and a review of precampaign and campaign statements by the presidential candidates.
THE CAMPAIGN AND THE CANDIDATES (NBC, 6:30-7:30 p.m.). A last-minute glance at the various political races.
ELECTION PREVIEW (CBS, 6:30-7:30 p.m.). An evaluation of the 1964 campaign, the issues involved, and the outlook for Election Day.
Monday, November 2
THE DEMOCRATIC NATIONAL COMMITTEE (NBC, 10-11 p.m.). Paid political broadcast, whose format is not yet settled.
Tuesday, November 3 ELECTION COVERAGE (ABC, CBS, NBC, 7 p.m. to conclusion). All three networks tune in where the campaign tunes out to compute, analyze and dissect the returns. Anchormen for ABC are Edward P. Morgan and Howard K. Smith, and for NBC, Chet Huntley and David Brinkley. CBS, having officially abandoned the title Anchorman, heads its team with "National Editor Assigned to Integrate and Summarize the Overall Election Story" Walter Cronkite.
THEATER
CAMBRIDGE CIRCUS. A band of incredibly funny young Cambridge graduates, with a revue that thinks small and carries a big slapstick. Laughter is all but incessant, and the most hilarious sketch of the evening is a bewigged theater-of-the-absurd British courtroom trial involving a dwarf.
OH WHAT A LOVELY WAR is an animated documentary that grins like a skull at the follies of World War I. Adding humor and song to pity and terror, Lovely War
*All times E.S.T. achieves a catharsis hardly to be believed of a musical. The hand that guides it is Joan Littlewood's; the guiding spirit is Bertolt Brecht's.
FIDDLER ON THE ROOF. Incredibly, this musical discovers high theater and infectious gaiety in the funny-sad story of Tevye and his five daughters in a Russian village prior to the 1905 revolution. Zero Mostel is a million rubles worth of joy.
ABSENCE OF A CELLO. This amusing farce breezes along on the proposition that the corporate image is a fright mask.
RECORDS
Virtuosos
BEETHOVEN: THE COMPLETE PIANO SONATAS (10 LPs; Deutsche Grammophon). A beautifully re-engineered reissue of the 32 sonatas by Wilhelm Kempff, who at 68 made his long-awaited U.S. debut at Carnegie Hall last fortnight. The German master's interpretation of the sonatas is justly famed. Perhaps a sense of mystery is missing from the late works, perhaps there are occasional pauses to savor details rather than a constant forward drive, but Kempff's Beethoven is worthy of comparison with Schnabel's-less sweeping but often more spontaneous, lyrical and witty.
CHOPIN: WALTZES (RCA Victor). Artur Rubinstein's new recording of the 14 waltzes treats them as poems rather than dances, fountains rather than fireworks. There are flashes of brilliance, but the prevailing impression is of candlelit intimacy. The romantic, polished septuagenarian seems to have taken his cue from his compatriot, Chopin himself, whose playing of soft passages was described by a listener as "a mere breath."
BOCCHERINI: CONCERTO FOR CELLO AND ORCHESTRA (Deutsche Grammophon). Boccherini was a cellist himself but probably never knew how lush and lustrous his music could sound. Pierre Fournier transports the B-flat concerto out of the 18th century and plays it 19th century style, richly and romantically, but with taste. Along with Boccherini comes the first recording of a cello concerto by C.P.E. Bach, including a melodious Largo that Fournier makes luminous. The accompanying Lucerne Festival Strings is conducted by Rudolf Baumgartner.
ANDREW IMBRIE: CONCERTO FOR VIOLIN AND ORCHESTRA (Columbia). Zoltan Rozsnyai is the conductor and Carroll Glenn the violinist for the belated first recording of one of the most forceful works written in the U.S. in recent years (1950-54). Miss Glenn's protean violin achieves a dozen moods and a dozen rhythms as the big piece swirls forward, and an occasional bell-like sound tolls the dissolution of the themes like the stroke of midnight.
BACH: HARPSICHORD CONCERTO IN D MINOR (London). A stunning performance of one of Bach's great works, the three movements, all in the minor key, creating a somber but noble vision. George Malcolm's harpsichord never clangs, never tinkles, but has subtle varieties of timbre that sometimes melt into and sometimes richly encrust the music of the string orchestra. Karl Miinchinger is the conductor.
MOZART: FLUTE CONCERTO IN D MAJOR (London). The orchestra is the London Symphony, the conductor the late great Pierre Monteux, and the soloist his son Claude, himself a conductor and composer as well as virtuoso flautist. The recording, made last spring a few months before the Maestro's death, was the first the two made together. It was more than a sentimental occasion: the 89-year-old conductor gave spacious backing to the younger Monteux, who plays Mozart, embellished with his own cadenzas, with lighthearted ease and steely delicacy. Father and son also collaborated in Bach's Suite No. 2 and in the "Dance of the Blessed Spirits" from Gluck's Orpheus and Eurydice.
CINEMA
THE SOFT SKIN. With elegant style and economy, French Director Francois Truffaut (The 400 Blows) analyzes the love game as played by an aging, suety intellectual (Jean Desailly) who shuttles between his wife and a shapely airline stewardess (Francoise Dorleac).
TOPKAPI. A jewel theft in Istanbul is played mostly for laughs by Melina Mercouri, Maximilian Schell and Peter Ustinov in Director Jules Dassin's niftiest caper since Rififi.
THE LUCK OF GINGER COFFEY. Robert Shaw and Mary Ure are superb in a sensitive, deeply affecting drama based on Brian Moore's novel about a genial Irish nobody who feels his life and his wife slipping away from him.
I'D RATHER BE RICH. Another romantic mixup, another wayward heiress-but the familiar ingredients are whipped into a nice froth by Sandra Dee, Robert Goulet, Andy Williams, Hermione Gingold.
THE APE WOMAN. Man's inhumanity is the theme of this squalid but often hilarious Italian comedy about a punk promoter and his wife, a girl covered from head to toe with brown silky hair.
MARY POPPINS. Walt Disney's drollest film in decades has wit, sentiment, lilting tunes, and an irresistible performance by Julie Andrews as the proper London governess with a flair for magic.
SEDUCED AND ABANDONED. Italian Director Pietro Germi (Divorce-Italian Style) again turns Sicilian social codes inside out in this tragicomedy about the violent aftermath of a provincial maiden's misstep.
THAT MAN FROM RIO. A stylish French spoof of Hollywood action epics assigns most of the derring-do to Hero Jean-Paul Belmondo, who does it to a turn.
A HARD DAY'S NIGHT. The Beatles play the Beatles in a comedy deftly calculated to whip up hysteria among pre-teens without spoiling the fun for their elders.
GIRL WITH GREEN EYES. As a bubbly colleen who chances a fling with a middle-aged author. Britain's Rita Tushingham makes a trite tale seem fresh, poignant, and deliciously funny.
THE NIGHT OF THE IGUANA. Burdened with some of the fascinating ills that Tennessee Williams' characters are heir to, Ava Gardner, Deborah Kerr and Richard Burton repair to a shabby Mexican resort for group therapy.
BOOKS
Best Reading
MARKINGS, by Dag Hammarskjold. The late Secretary-General of the United Nations called this journal a record of "my negotiations with myself-and with God." Sometimes exalted, sometimes in despair, Hammarskjold wrote only of his mind and emotions in a series of pensees, poems and meditations that reveal the iciest diplomat of them all was at heart a God-haunted mystic.
FOR THE UNION DEAD, by Robert Lowell. Less obscure than his earliest works and less embarrassingly confessional than his recent Life Studies, these poems pursue Lowell's preoccupation with creativity, madness, marriage and his Puritan heritage in tough, masculine verse.
MY AUTOBIOGRAPHY, by Charles Chaplin. Hollywood's comic genius writes eloquently of his pitifully poor childhood but prefers name dropping to telling about his later artistic achievements. The reason for this autobiographical lapse is apparent on every page and saves the book: despite his fame, the penniless child in Charlie still marvels at the attention of the great.
THE BRIGADIER AND THE GOLF WIDOW, by John Cheever. In these chilling short stories, the fall from corporate grace, the merger, the personal scandal that might stop the money, are the demons Cheever uses to speculate about the fears of salaried suburbanites.
LITTLE BIG MAN, by Thomas Berger. An exuberant novel of the wild West that lights new fires under old myths yet at the same time satirizes them.
REMINISCENCES, by Douglas MacArthur. In a style that is more restrained than his usual baroque eloquence, MacArthur vividly recounts his trials and his triumphs.
HERZOG, by Saul Bellow. In this long-awaited novel, Bellow's hero is a man in search of a new life amid the rubble of a wrecked marriage. His conclusion is disappointingly flat ("I am what I am"), but in the process of reaching it, Herzog-Bellow ranges wittily, learnedly and perceptively over nearly all the dilemmas-major, minor and plain absurd-of 20th century man in a virtuoso display that is a constant delight.
THE WORDS, by Jean-Paul Sartre. After a series of increasingly labored, metaphysically morose works, Sartre has written a clear-eyed, warm, but very sad account of his early years. The despair of modern existentialism, it turns out, is partly rooted in the struggle for sanity of a bookish, lonely child.
Best Sellers
FICTION
1. Candy, Southern and Hoffenberg (1 last week)
2. Herzog, Bellow (2)
3. The Spy Who Came In from the Cold, Le Carre (3)
4. This Rough Magic, Stewart (4)
5. The Rector of Justin, Auchincloss (6)
6. Julian, Vidal (7)
7. Armageddon, Uris (5)
8. A Mother's Kisses, Friedman (9)
9. The Man, Wallace (10)
10. You Only Live Twice, Fleming (8)
NONFICTION
1. Reminiscences, MacArthur (1)
2. My Autobiography, Chaplin (2)
3. Harlow, Shulman (5)
4. A Tribute to John F. Kennedy, Salinger and Vanocur (3)
5. The Kennedy Wit, Adler
6. The Italians, Barzini (6)
7. A Moveable Feast, Hemingway (4)
8. The Invisible Government, Wise and Ross (7)
9. Diplomat Among Warriors, Murphy (9)
10. Four Days, U.P.I, and American Heritage (10)
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