Friday, Jan. 15, 1965

Wednesday, January 13

WEDNESDAY NIGHT AT THE MOVIES (NBC, 9-11 p.m.).* Steve McQueen in an outstanding performance as an introverted soldier in Paramount's Hell Is for Heroes (1962).

ABC SCOPE (ABC, 10:30-11 p.m.). True story of Bill Witherspoon. sentenced to die in the Cook County, Ill., electric chair on Valentine's Day unless the U.S. Supreme Court commutes the sentence.

Thursday, January 14 KRAFT SUSPENSE THEATER (NBC, 10-11 p.m.). Barbara Rush and Hugh O'Brian star in the first half of a two-part drama about a secret society's attempt to destroy the U.N. Color.

Friday, January 15

THE BOB HOPE CHRISTMAS SPECIAL (NBC, 8:30-10 p.m.). Highlights of the comedian's Christmas tour of U.S. bases in Korea, Thailand, South Viet Nam, the Philippines and Guam.

Saturday, January 16 A.F.L. ALL-STAR GAME (ABC, 2-5 p.m.). The Eastern all-stars play the Western all-stars in New Orleans' Sugar Bowl.

SATURDAY NIGHT AT THE MOVIES (NBC, 9-11:15 p.m.). Grace Kelly, Alec Guinness and Louis Jourdan in The Swan (1956). Color.

THE HOLLYWOOD PALACE (ABC, 9:30-10:30 p.m.). Guests celebrating this show's first anniversary include Debbie Reynolds, Gene Barry, Tony Martin, Cyd Charisse, Bette Davis, Groucho Marx, Ballet Star Jacques d'Amboise.

Sunday, January 17

TWENTIETH CENTURY (CBS, 6-6:30 p.m.). The story of the forgotten front, the 38th parallel in Korea, and the men who still guard it.

PROFILES IN COURAGE (NBC, 6:30-7:30 p.m.). Peter Lawford stars as General Alexander William Doniphan, who in 1838 refused to carry out the execution of Mormon leaders.

THE WIZARD OF OZ (CBS, 7-9 p.m.). Seventh annual broadcast of the film classic starring Judy Garland, with Margaret Hamilton as the Wicked Witch of the West.

SUNDAY NIGHT MOVIE (ABC, 9-11 p.m.). Part II of Exodus. Color.

SHELL'S WONDERFUL WORLD OF GOLF (ABC, 4-5 p.m.). Premiere of a new series of international golf tournaments. American Dave Marr plays Britain's Bernard Hunt in England.

Monday, January 18

ALLAN SHERMAN'S FUNNYLAND (NBC, 9-10 p.m.). Preview of a possible next-season comedy-variety series. Color.

BEN CASEY (ABC, 10-11 p.m.). Susan Oliver stars as a Russian ballerina who gets the Casey tour of San Francisco's nightspots.

Tuesday, January 19

THE BELL TELEPHONE HOUR (NBC, 10-11 p.m.). Guests include Lena Horne, Opera Stars Regina Resnik and Robert Merrill, Folk Singers Peter, Paul and Mary. Color.

THEATER

On Broadway

TINY ALICE, by Edward Albee. Life is a many-symboled thing in this opaque play of the post-Christian ethos. Paradoxically, Alice's only emotional vitality stems from Christian symbols and experience. The language is sometimes eloquent but often merely prolix. The cast, headed by John Gielgud, is a matchless marvel.

HUGHIE is a one-act, 65-minute postlude to The Iceman Cometh and Eugene O'Neill's obsessive theme that truth kills and the lie of illusion nourishes life. In a performance of consummate skill, Jason Robards does precisely what O'Neill always asked of himself, even in lesser plays--he lays his life on the lines.

FIDDLER ON THE ROOF. One of the most remarkably versatile talents of the contemporary stage. Zero Mostel breathes life into this nostalgic and poignant musical comedy derived from Sholom Aleichem's tales of Tevye and his five daughters.

POOR RICHARD does not register as many laughs as Mary, Mary, but Jean Kerr again produces the wit that is instant wisdom. Alan Bates plays the kind of mixed-up wanderer that women so yearn to straighten out and anchor.

THE OWL AND THE PUSSYCAT. Diana Sands and Alan Alda rough each other up with steady hilarity in Bill Manhoff's sexy and sassy rendition of the war between the sexes.

LUV. Murray Schisgal turns the theater of the absurd upside down, and sophisticated laughter tumbles out. Eli Wallach, Anne Jackson and Alan Arkin are exemplars of fine comic acting.

OH WHAT A LOVELY WAR. Joan Littlewood and her troupe mock and grieve over the senselessness and tragedy beneath the uniforms and military doubletalk of World War I. It is a scorching, fascinating evening in the theater.

Off Broadway

BABES IN THE WOOD. Rick Besoyan's musical spoof of A Midsummer Night's Dream mimics Gilbert and Sullivan, nineteen-thirtyish musicals and burlesque to provide a diverting trifle for playgoers.

THE SLAVE and THE TOILET argue that the Negro wants not so much to be equal as to be able to retaliate. LeRoi Jones's latest contributions to the theater of cruelty are one-act spasms of fury.

RECORDS

Orchestral

MAHLER: SYMPHONY NO. 1 (London). Mahler's most frequently recorded work contains just about everything but the bossa nova, and it takes a conductor of exceptionally high voltage to weld the folklike songs, the funeral march (to the tune of Frere Jacques), the dreamy ruminations, and apocalyptic outbursts into a brassbound emotional blockbuster. George Solti is that conductor, and the London Symphony is the orchestra.

MAHLER: SYMPHONY NO. 5 (2 LPs; RCA Victor). Erich Leinsdorf leads the Boston Symphony on this long musical odyssey, and with the first galvanic trumpet call promises excitement that he delivers in full. Leonard Bernstein, on Columbia, conducted a flashing and poetic Fifth last year, but Leinsdorf demonstrates that drama can also be heightened by tension and cool control. On Side 4 he conducts excerpts from Alban Berg's Wozzek hauntingly sung by Soprano Phyllis Curtin.

MOZART: SYMPHONIES NO. 31 ("THE PARIS") AND NO. 34 (Angel). Otto Klemperer and the Philharmonia probably make these galant symphonies sound weightier than Mozart intended, but theirs is an impeccable performance: every strand of melody is spun out and polished to a high luster.

MOZART: SINFONIA CONCERTANTE FOR VIOLIN, VIOLA AND ORCHESTRA (Columbia). A chamber group from the Cleveland Orchestra makes Mozart exquisitely airy. For soloists to help the string section weave the shimmering gossamer, Conductor George Szell turned to his own fine concertmaster, Rafael Druian, and his principal violist, Abraham Skernick.

TCHAIKOVSKY: SYMPHONY NO. 6 ("PATHETIQUE") (Deutsche Grammophon). Herbert von Karajan and the Berlin Philharmonic do not reveal their dramatic intentions until the third movement. It develops from a brisk march into an inexorably advancing avalanche of sound that is eventually submerged in the ebbing, surging melodies of the finale.

CARL NIELSEN: SYMPHONY NO. 2 (Vox). Sibelius' contemporary and compatriot subtitled his early, danceable symphony "The Four Temperaments" and assigned a different humor to each movement: choleric, phlegmatic, melancholic and sanguine (a sanguine man, according to Nielsen, is the sort who believes that "fried pigeons will fly into his mouth without work"). Conductor Carl Garaguly and the Tivoli Concert Hall Symphony Orchestra faithfully reproduce each mood.

CINEMA

MARRIAGE--ITALIAN STYLE. Director Vittorio De Sica (Yesterday, Today and Tomorrow) pairs Sophia Loren and Marcello Mastroianni in a hilarious, fiercely moral old tearjerker about a Neapolitan pastrymaker who is dragged to the altar by an indomitable tart.

ZORBA THE GREEK. Like the novel by Nikos Kazantzakis, this cinemadaptation by Michael Cacoyannis raises a roaring amen to life as it is and a lusty cheer for the man who dares to live it to hellangone. The man is portrayed by Anthony Quinn with noble savagery and goatish gusto.

WORLD WITHOUT SUN. In this fascinating, full-color documentary by Oceanographer Jacques-Yves Cousteau (The Silent World) seven oceanauts spend a month in a manfish bowl, an underwater tank town full fathom five below the surface.

THE UMBRELLAS OF CHERBOURG. Like a kid with a handful of bright new crayons, French Director Jacques Demy transforms a sadly cynical musical about young love into a film of unique and haunting beauty.

TO LOVE. More sex in Sweden, the land of the midnight fun, but this time sex is satirized in the sappy story of a hot-blooded travel agent (Zbigniew Cybulski) who demonstrates to a merry widow (Harriet Andersson) that the best kind of travel is abroad.

GOLDFINGER. James Bond again smoothly travestied by Sean Connery, who destroys criminals and devastates their ladies but preserves Fort Knox's gold.

SEANCE ON A WET AFTERNOON. A taut English thriller about a demented psychic (Kim Stanley) and her spouse (Richard Attenborough) who carry out a kidnaping suggested by voices from Beyond.

THE PUMPKIN EATER. Marriage is a sex war in this incisive British drama, with Anne Bancroft as a three-time contender suffering from battle fatigue.

MY FAIR LADY. The movie version of the Lerner-Loewe musical remains indestructible showmanship, with Audrey Hepburn as the grimy flower peddler brought to full bloom by Professor Rex Harrison.

BOOKS

Best Reading

LOVE AND REVOLUTION, by Max Eastman. An adventure-filled autobiography by the first of the Red-struck young U.S. intellectuals to comprehend the terrors and cruelties of Stalin's Russia. Eastman's only regret at 82 is that he didn't crowd even more into his life.

A COVENANT WITH DEATH, by Stephen Becker. A flavorful tale of a Mexican border state in the '20s, and the legal issue of whether a man, about to hang for a murder he did not commit, should be punished for killing the hangman.

RUSSIA AT WAR, 1941-45, by Alexander Werth. The reader has to dig for them, but there are rewards in this vast work, the first complete history in English of this titanic struggle.

THE FOUNDING FATHER, by Richard Whalen. This authoritative biography of Joseph P. Kennedy describes the building of his fortune and illustrious dynasty.

THE HORSE KNOWS THE WAY, by John O'Hara. The fourth recent collection of short stories shows a consistent excellence seldom achieved by any writer. In his tales of well-off, middle-aged people, the novelist defines his spiritual habitat as clearly as Faulkner staked out Yoknapatawpha.

THE DIARIES OF PAUL KLEE, edited by Felix Klee. Like his contemporaries Freud and Jung, Klee sought out the hieroglyphs of the heart in squiggly, childlike paintings. His diaries follow a parallel path of impromptu ebullience.

FRIEDA LAWRENCE, edited by E. W. Tedlock Jr. Her essays, letters and a fictionalized memoir transform Mrs. D. H. Lawrence from an offstage presence into a compelling figure who was passionately loyal to her husband's work, if, on at least one occasion, unfaithful to his person.

Best Sellers

FICTION 1. Herzog, Bellow (1 last week) 2. The Rector of Justin, Auchincloss (2) 3. The Man, Wallace (3) 4. This Rough Magic, Stewart (4) 5. The Horse Knows the Way, O'Hara (7) 6. Julian, Vidal (8) 7. Candy, Southern and Hoffenberg (5) 8. The Spy Who Came In from the Cold, Le Carre (6) 9. Armageddon, Uris 10. You Only Live Twice, Fleming (9)

NONFICTION 1. Markings, Hammarskjoeld (1) 2. Reminiscences, MacArthur (2) 3. The Italians, Barzini (4) 4. My Autobiography, Chaplin (8) 5. The Kennedy Years, the New York Times and Viking Press (3) 6. The Words, Sartre (10) 7. The Kennedy Wit, Adler (6) 8. Not Under Oath, Kieran 9. The Future of Man, De Chardin (9) 10. Sixpence in Her Shoe, McGinley

* All times E.S.T.

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