Wednesday, February 17

ABC SCOPE (ABC, 10:30-11 p.m.).* "Television, Moscow-Style," a sampling of Soviet TV including a variety show called Ogonek (meaning "small flame"), which gets a top People's Nielovich rating in the U.S.S.R.

Thursday, February 18

THE DEFENDERS (CBS, 10-11 p.m.). Donald Pleasence stars as a former doctor accused of manslaughter for advocating the use of the hallucinogenic drug LSD.

Friday, February 19

THE NEW YORK PHILHARMONIC YOUNG PEOPLE'S CONCERT (CBS, 7:30-8:30 p.m.). "A Tribute to Sibelius."

BOB HOPE PRESENTS THE CHRYSLER THEATER (NBC, 8:30-9:30 p.m.). Bert Lahr plays an aged safe cracker who mobilizes an old folks' home for one last caper.

WHO HAS SEEN THE WIND? (ABC, 9:30-11 p.m.). This U.N. case history explores the plight of a family of stateless refugees who have spent twelve years on a freighter because no country will accept them. Maria Schell, Edward G. Robin son, Stanley Baker and Theodore Bikel are the stars.

Saturday, February 20

THE HOLLYWOOD PALACE (ABC, 9:30-10:30 p.m.). Bette Davis is hostess.

Sunday, February 21

THE TWENTIETH CENTURY (CBS, 6-6:30 p.m.). "The Siege of Leningrad," an Iliad of a struggle in which the Russian city held out for 2 1/2 years (August 1941 to January 1944) against German encirclement total except for one tenuous ice road across frozen Lake Ladoga.

PROFILES IN COURAGE (NBC, 6:30-7:30 p.m.). Janice Rule plays Prudence Crandall, a Connecticut schoolmistress who integrates her private school. The year: 1833.

Monday, February 22

CINDERELLA (CBS, 8:30-10 p.m.). A remake of the Rodgers & Hammerstein 1957 TV musical starring Lesley Warren (who played the ingenue lead in Broadway's 110 in the Shade) as Cinderella, Stuart Damon as the prince, Ginger Rogers as the queen, Walter Pidgeon as the king, Celeste Holm as the fairy godmother, and Jo Van Fleet as the stepmother. Color.

Tuesday, February 23

THE JOURNALS OF LEWIS AND CLARK (NBC, 10-11 p.m.). A special based on the 1804 expedition of Meriwether Lewis and William Clark. Color.

THE SAGA OF WESTERN MAN (ABC, 10-11 p.m.). "I, Leonardo da Vinci," a special documentary with Fredric March speaking for Leonardo. Color.

THEATER

On Broadway

TINY ALICE. Who is Alice? Where is she? And who cares? The questions are being asked by theatergoers, students of the drama, psychologists, and even by the playwright, Edward Albee, about his deliberately confusing but moderately engrossing mystery.

POOR RICHARD. Jean Kerr sacrifices some laughs in treating two serious themes: the capacity to love and the squandering of talent. Still, wit and insight inform this tale of an English poet on an alcoholic sabbatical in New York.

THE OWL AND THE PUSSYCAT. Alan Alda hoots and Diana Sands hollers in Bill Manhoff's comedy about a mind-v.-body imbroglio between a musty book clerk and an earthy prostitute.

LUV. What's so funny about three tear-jerks on a bridge trying to outlament and outpsychologize each other? Author Murray Schisgal, Director Mike Nichols, and Performers Eli Wallach, Anne Jackson and Alan Arkin--that's what.

Off Broadway

A VIEW FROM THE BRIDGE. Arthur Miller's ten-year-old tragedy of a Brooklyn longshoreman with an incestuous fixation for his niece may be more Freudian than Greek, but it pulses with the fury, pity and seeming inevitability of obsessive self-destruction.

WAR AND PEACE. Tolstoy's genius grips the Phoenix stage in an alternate offering with Man and Superman. Allowing for the preposterous difficulty of shrinking an oak back into an acorn, the result is surprisingly dramatic. Rosemary Harris as Natasha and Sidney Walker as old Prince Bolkonski inspire the cast with performances of finesse and authority.

TARTUFFE. Lincoln Center's interpretation of Moliere's comedy has too much bounce and not enough bite, but Michael O'Sullivan's Tartuffe is a surrealistic and fantastic acting creation.

BABES IN THE WOOD. The Globe never saw anything like Rick Besoyan's loose musical adaptation of A Midsummer Night's Dream. Its good-natured brashness provides a pleasant evening for lovers of light, spoofy theater.

THE SLAVE and THE TOILET. The color scheme is black and white, and Negro Playwright LeRoi Jones whiplashes both races in his studies of interracial love and hate.

RECORDS

Jazz

Jazz is a language, and a number of Broadway and Hollywood scores have recently been translated into it, or at least rephrased with a jazz accent. The results, while not always pleasing the jazz clique, have made a running start toward the pop charts, where Andre Previn's My Fair Lady and Louis Armstrong's Hello, Dolly! led the way. Some new pop-jazz releases:

DUKE ELLINGTON: MARY POPPINS (Reprise). The Duke leaves all the Hollywood sugar in these twelve pieces from the Disney movie and adds some corn (a growling trumpet, a wah-wah trombone). But there is deftness in most of his gentle transformations, and he seems to enjoy playing with the little pieces. The virtuosos of his big band step forward solemnly to play the songs of Mr. Banks, the children and the chimney sweep, and Saxophonist Paul Gonsalves scampers through Mary Poppins' exultant solo faster than one can say supercalifragilistic-expialidocious.

DIZZY GOES HOLLYWOOD (Philips) could more properly be called Hollywood Goes Dizzy, and what a way to go. Gillespie's trumpet throws flames octaves high while it sears eleven songs and movie themes, including those from Caesar and Cleopatra, Never on Sunday and Lawrence of Arabia. Walk on the Wild Side gets the most extended and exploratory treatment along the lines of its title.

ART BLAKEY AND THE JAZZ MESSENGERS: GOLDEN BOY (Colpix). Blakey doubled the length and breadth of five pieces from this musical (Lorna's Here, I Want to Be with You) and added Yes, I Can, which was cut out of the Broadway production, but makes a showpiece for Wayne Shorter's quicksilver tenor sax. The ten-member band, backed by Drummer Blakey, works such solid changes on the textures and rhythms of the score that it seems to come from Birdland rather than Broadway.

ILLINOIS JACQUET PLAYS COLE PORTER (Argo). The sinuous lines of these dozen ballads (Get Out of Town, I've Got You Under My Skin) are almost jazz-resistant, and the arrangers, feeding them to a 19-piece orchestra with strings and a harp, just let them flow. The rhapsodic, old-fashioned results are saved from banality by the carved, dark mahogany solos of Veteran Tenorman Jacquet.

CANNONBALL ADDERLEY: FIDDLER ON THE ROOF (Capitol). Cannonball's alto sax has lost its old, zesty funkiness, but it still provides some bright and airy embellishments, as do his drummer and bass player. Tradition and the bolero-tempoed dance Cajvalach come off the catchiest, but the sextet even manages to swing, ever so gently, the Sabbath Prayer.

THE VILLAGE STOMPERS: NEW BEAT ON BROADWAY! (Epic). The Stompers are seven bright young musicians who a year and a half ago introduced in their best-selling Washington Square a hybrid something they call Folk-Dixie, with the accent on Dixie. Cheerfully applying their split personality to show tunes, they make Mack the Knife sound like a hillbilly and they almost slaughter People; but even the mayhem is jolly. Fiddler on the Roof sounds great in the Russian-Jewish-Tin-Pan-Alley-Folk-Dixie dialect.

CINEMA

HOW TO MURDER YOUR WIFE. Amiable nonsense about a buoyant bachelor (Jack Lemmon) who wakes up married to a girl in a million (Italy's Virna Lisi) and begins to contemplate the benefits of home, sweet home v. homicide, partly because his fastidious manservant (Terry-Thomas) views all women as household pests.

TRIAL OF JOAN OF ARC. Using the actual words spoken during Joan's heresy trial in 1431, this spare, ascetic film transforms history into a unique and timeless drama that often looks like a 15th century news special.

MARRIAGE-ITALIAN STYLE. Vice is hilarious and virtue seems pretty earthy in Director Vittorio De Sica's half-humorous, half-sentimental account of how a Neapolitan harlot (Sophia Loren) fights and wins a lifelong battle to take a rake (Marcello Mastroianni).

NOTHING BUT A MAN. As hero of a sincere, forceful drama that avoids both preachiness and skin-deep sociology, a confused young Negro (Ivan Dixon) discovers what it means to be a black man in America.

THE UMBRELLAS OF CHERBOURG. Young love brightens up a shabby French seaport, where Director Jacques Demy sets everyone singing while he wistfully paints the town red, blue, and other sparkling primary colors.

ZORBA THE GREEK. Anthony Quinn gloriously reaches the peaks of Nikos Kazantzakis' novel about a rip-roaring old brute who teaches a timid essayist (Alan Bates) to get out of his books and into real trouble.

WORLD WITHOUT SUN. The fear and fascination of day-to-day existence in an experimental tank town under the Red Sea are coolly recorded in this eerie, colorful documentary by Oceanographer Jacques-Yves Cousteau (The Silent World).

BOOKS

Best Reading

THE ORDWAYS, by William Humphrey. From memorable tragedy (Home from the Hill), Humphrey turns to delightful comedy, chronicling the fun and foibles of a huge East Texas clan in what is perhaps the best humorous novel since Faulkner's The Reivers.

PRINCE EUGEN OF SAVOY, by Nicholas Henderson. A deft biography of the neglected French military genius who furthered the fortunes of the Hapsburgs after Louis XIV insulted the young man by telling him he was fit only for the priesthood.

JONATHAN SWIFT, by Nigel Dennis. A biography by a writer who knows his Swift, and is aware, also, of the grim literary and Freudian exegeses that have clouded his brilliant satires.

THE THOUSAND AND ONE NIGHTS OF JEAN MACAQUE, by Stuart Cloete. Having written novels about the Boer War that fell well short of Churchill in adventure, Cloete now busts loose with the funny story of a journalist who lives it up each day to try to stave off tomorrow.

THE FOUNDING FATHER, by Richard Whalen. This is a book for sidewalk superintendents of man's self-building; from the excavation to the towers, the construction of Joe Kennedy's fabulous fortune and consequent family power is painstakingly detailed.

FRIEDA LAWRENCE, edited by E. W. Tedlock Jr. The letters, essays and memoirs of the great writer's wife show that, while he may have been the prophet of free love on paper, in his life and at home he was an emotional Victorian trying to cope with a flirtatious woman.

Best Sellers

FICTION

1. Herzog, Bellow (1 last week)

2. The Man, Wallace (3)

3. The Rector of Justin, Auchincloss (4)

4. The Horse Knows the Way, O'Hara (2)

5. Funeral in Berlin, Deighton (5)

6. Hurry Sundown, Gilden

7. This Rough Magic, Stewart (7)

8. Covenant with Death, Becker (9)

9. You Only Live Twice, Fleming (6)

10. Julian, Vidal (10)

NONFICTION

1. Markings, Hammarskjoeld (1)

2. Reminiscences, MacArthur (2)

3. The Italians, Barzini (3)

4. The Founding Father, Whalen (4)

5. Queen Victoria, Longford (9)

6. The Words, Sartre (5)

7. Life with Picasso, Gilot and Lake (8)

8. My Autobiography, Chaplin (7)

9. The Kennedy Years, The New York Times and Viking Press (6)

10. The Kennedy Wit, Adler (10)

* All times E.S.T.

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