TELEVISION

Wednesday, March 17

PUREX DINAH SHORE SPECIAL (ABC, 8:30-9:30 p.m.).* Bob Hope co-hosts with Dinah; the guests include Henry Mancini and Maria Tallchief.

THE DANNY KAYE SHOW (CBS, 10-11 p.m.). Enzo Stuarte is no Irish tenor, and neither is Imogene Fernandez y Coca, but both join Brooklyn-bred Leprechaun Danny Kaye (born Kominsky) in a celebration of St. Patrick's Day. Thursday, March 18

MAN INVADES THE SEA (ABC, 10-11 p.m.). Robert Montgomery, in a rare return to TV, narrates this documentary on underwater exploration projects, including those of the U.S. Navy (Sea lab 11), Jacques-Yves Cousteau and such institutions as Woods Hole, Scripps Institute and the Lamont Geological Observatory.

Friday, March 19

F.D.R. (ABC, 9:30-10 p.m.). The 1936 election with an in-person appearance by Also-Ran Alfred M. Landon.

AMERICA'S JUNIOR MISS PAGEANT (NBC, 10-11 p.m.). A genuine slice of Americana, this beauty contest searches for "the ideal high school senior girl" and is broadcast in color with TV Teacher James Franciscus (Mr. Novak) as host.

Saturday, March 20

NATIONAL INVITATION TOURNAMENT(NBC, 3-5 p.m.). The end-of-season college basketball championship is broadcast live from Madison Square Garden.

Sunday, March 21

THE TWENTIETH CENTURY (CBS, 6-6:30 p.m.). "The Warsaw Uprising," a report on the 63 days in the summer of 1944 during which the Poles battled the German occupation troops with virtually no weapons and no outside help.

WORLD WAR I (CBS, 6:30-7 p.m.). "The Armistice."

THE ROGUES (NBC, 10-11 p.m.). Gig Young and Gladys Cooper in a swindle involving a forged Shakespeare play.

Monday, March 22

THE MAN FROM U.N.C.L.E. (NBC, 7:30-8:30 p.m.). An U.N.C.L.E. secretary has a brush with Thrush.

Tuesday, March 23

INTER-AMERICAN HIGHWAY: BRIDGE OF THE AMERICAS (NBC, 10-11 p.m.). A ride, in color, 3,000 miles down the highway from Laredo, Texas, to the Darien Gap in Panama, with sightseeing en route.

THEATER

On Broadway

ALL IN GOOD TIME. Without resorting to soap-operatic mush or clinical psychologizing, Bill Naughton has written a sharp-eyed comedy about a pair of newlyweds with an intimate problem and problem parents. Naughton has some very funny things to say, and Donald Wolfit and Marjorie Rhodes say them with high talent and polished expertise.

TINY ALICE. Edward Albee's opaque allegory peddles the fallacy that the pure-in-heart are mortally vulnerable before institutionalized worldliness. The symbols tinkle hollowly, but the theatrical electricity of the play is turned on fully by John Gielgud and Irene Worth.

THE OWL AND THE PUSSYCAT. In a healthy, vulgar slugfest between sex and the spirit, Diana Sands's screeching prostitute discovers she has a mind, and Alan Alda's dusty bookstore clerk admits he has a body. They almost lose each other trying to reconcile the difference.

LUV. Three characters on a suspension bridge, suffering garrulously from every known brand of contemporary self-pity. Theater of the absurd? Yes, but the flawless comic acting talents of Anne Jackson, Alan Arkin and Eli Wallach keep the absurd hilarious.

Off Broadway

A VIEW FROM THE BRIDGE. Apart from Death of a Salesman, this is Arthur Miller's most compelling effort to dramatize the tragedy of a common man. Robert Duvall's gusty portrayal of the doomed longshoreman-hero gives the play tingling impact.

WAR AND PEACE. Ellis Rabb's inventive direction and the authoritative acting of the Phoenix Theater's repertory troupe evoke remarkably well the vast scope, surge and thematic intent of Tolstoy's massive novel within the narrow limits of one stage and a few hours' time.

RECORDS

Jazz GETZ AU GO GO (Verve). Astrud Gilberto (The Girl from Ipanema) is back, recorded live with Stan Getz and his new quartet at Manhattan's Cafe au Go Go. The lyrics are Astrud's, the lyricism is Stan's. While she intones such Ipanema-like songs as Eu E Voce and Corcovaclo in her curious, emotionless voice, he injects the meaning, blowing smoke spirals around her with his tenor sax.

ARCHIE SHEPP: FOUR FOR TRANE (Impulse). Four pieces by John Coltrane played wildly and tenderly in turn by a far-ranging, out-front sextet led by the promising young tenor saxman, Archie Shepp. One of Shepp's most ardent fans is Negro Playwright LeRoi Jones, who says that Shepp expresses the "weight of black" in his playing. This is best heard in Shepp's own composition, an emotionally shredding piece with the long, explicit title: Rufus (swung, his face at last to the wind, then his neck snapped).

JOHN LEWIS: ESSENCE (Atlantic). Lewis' skipping piano lightly stitches together these six pieces by Gary McFarland, while behind him three different big bands put harmonies through a kaleidoscope or separate briefly into solo voices that dab in contrasting spots of color.

DAVE BRUBECK: JAZZ IMPRESSIONS OF NEW YORK (Columbia). Brubeck has taken to writing postcard jazz, as in his Jazz Impressions of Eurasia and Jazz Impressions of Japan. The New York set has the most authentic sound--crisp, sophisticated and as nervously up-tempo as a taxi meter. Originally composed by Brubeck for a TV show, Mr. Broadway, the themes are pulled apart and reassembled by his able quartet, with Paul Desmond's warm alto sax sharing solo honors with Brubeck's cool keyboard.

ERIC DOLPHY AND BOOKER LITTLE: MEMORIAL ALBUM (Prestige). Little died at 23, in New York in 1961; Dolphy at 36 on tour last summer in Berlin. Both were at the forefront (which is to say, the small end of jazz), but Dolphy especially was beginning to win friends and influence polls. Dolphy plays bass clarinet and alto sax, and Little his trumpet, in these long, dissonant, freeform and sometimes incoherent compositions they favored, painfully alive with piercing runs and relentless drumming.

LOUIS ARMSTRONG: IN THE '30s/IN THE '40s (RCA Victor). Jazz today is so often raw and anguished or polished and gutless that it is a joy to take a holiday into yesterday and hear Satchmo having a ball. Sweet Sue and I've Got the World on a String are two of the early pieces, recorded in 1933 with an eleven-man band. The selections from the '40s run to exuberant blues, with Jack Teagarden joining the band for Before Long and the Jack-Armstrong Blues.

CINEMA

THE SOUND OF MUSIC. This Richard Rodgers-Oscar Hammerstein musical about the Trapp Family Singers who tied Austria after the Anschluss of 1938 has more sugar than spice, but a buoyant performance by Julie Andrews makes the show seem irresistibly gemuetlich.

RED DESERT. Against a bleak industrial landscape near Ravenna, Italy's Michelangelo Antonioni (L'Avventura, La Notte) explores the neurotic problems of a young wife (Monica Vitti) and, frame by frame, fills his first color film with precisely shaded insights and breathtaking beauty.

HOW TO MURDER YOUR WIFE. Jack Lemmon wakes up married to a girl in a million (Italian Import Virna Lisi) and tries to choose between hearthside and homicide while his woman-hating manservant (Terry-Thomas) offers hilarious household hints.

NOTHING BUT A MAN. What it means to be born black in America is set forth with power and poignancy in a straightforward drama about Negro newlyweds (Abbey Lincoln, Ivan Dixon) struggling to find their place in the white man's world.

JOY HOUSE. Along the Riviera, Director Rene Clement (Purple Noon) masterminds a sometimes merry, sometimes scary chase involving a professional Romeo (Alain Delon) who is pursued by killers and by a high-spirited vamp (Jane Fonda) who prefers to take him alive.

MARRIAGE-ITALIAN STYLE. Tears, belly laughs and earthy morality are shrewdly blended by Director Vittorio De Sica, turning for his theme to the 20-year sex battle between a Neapolitan pastryman (Marcello Mastroianni) and a triumphant tart (Sophia Loren).

THE UMBRELLAS OF CHERBOURG. In this sad but sparkling French musical, Director Jacques Demy heaves a sigh for every sweet young thing who ever traded her first careless rapture for a bit of tangible security.

ZORBA THE GREEK. An uproarious Bacchanalian bash out of Nikos Kazantzakis' novel, superbly acted by Anthony Quinn as the wild old goat whose life is a series of total disasters.

GOLDFINGER. To save the gold at Fort Knox, James Bond (Sean Connery) endures sex, sadism, and other line-of-duty disturbances--all the while impeccably tailored, of course.

SEANCE ON A WET AFTERNOON. A throat-drying English thriller, built around Kim Stanley's subtly menacing performance as a deranged medium whose "voices" tell her to kidnap a child.

BOOKS

Best Reading

THE GOLD OF THE RIVER SEA, by Charlton Ogburn. In the framework of an exciting adventure novel, Author Ogburn (The Marauders) shows himself to be a richly talented recorder of the beauty and savagery of the Amazon and the jungles of Brazil.

PRETTY TALES FOR TIRED PEOPLE, by Martha Gellhorn. The three stories are set in the weary world of Continental society, where people manipulate friends as well as cards to slake their boredom. In each story there is a loser, and in the collapse of his flimsy designs is the germ of a less frantic, more satisfying life.

THE NEGRO COWBOYS, by Philip Durham and Everett L. Jones. Despite endless writings about the Old West, scholarly historians and pulp novelists alike have ignored the fact that Negro cowboys rode in most of the drives from Texas to the cattle markets, and were respected, liked, and paid on a basis of wits and skill rather than color. An overdue addition to Americana.

THE ORDWAYS, by William Humphrey. In fine Southern rhetoric, Author Humphrey tells of the Ordways, who made it on foot from Tennessee to East Texas, and whose children recount a comic oral history of their journey and its fruits.

HAKLUYT'S VOYAGES, edited by Irwin Blacker. The highlights of Richard Hakluyt's amazing compendium of travel diaries, letters and essays, all of which eloquently chronicle Elizabethan England's rise from seagirt obscurity to world power.

MERIWETHER LEWIS, by Richard Dillon. The lively tale of the explorer who charted the American frontier but died in alcoholic ruin a few years after his triumph.

THE WHITSUN WEDDINGS, by Philip Larkin. Crystalline images and insights are distilled from commonplace circumstances by the reticent librarian whose spare, introspective lines have won him a reputation as Britain's finest contemporary poet.

Best Sellers

FICTION

1. Herzog, Bellow (1 last week)

2. Funeral in Berlin, Deighton (2)

3. Hurry Sundown, Gilden (4)

4. Hotel, Hailey (8)

5. The Man, Wallace (3)

6. Up the Down Staircase, Kaufman (9)

7. A Covenant with Death, Becker

8. The Legend of the Seventh Virgin, Holt (7)

9. The Horse Knows the Way, O'Hara (6)

10. The Ordways, Humphrey

NONFICTION

1. Markings, Hammarskjold (1)

2. The Founding Father, Whalen (2)

3. Queen Victoria, Longford (3)

4. Reminiscences, MacArthur (5)

5. The Italians, Barzini (4)

6. My Shadow Ran Fast, Sands (8)

7. Life with Picasso, Gilot and Lake (9)

8. Sixpence in Her Shoe, McGinley (7)

9. Stagestruck, Zolotow (10)

10. How to Be a Jewish Mother, Greenburg

*All times E.S.T.

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