TELEVISION

Wednesday, March 24

THE DANNY KAYE SHOW (CBS, 10-11 p.m.).*Guests are Jason Robards and Lauren Bacall.

Thursday, March 25

THE DEFENDERS (CBS, 10-11 p.m.). Ruby Dee and Ossie Davis portray members of a jury who make a dishonest decision.

Friday. March 26

THE GREAT ADVENTURE (CBS, 8:30-9:30 p m.). Joan Hackett stars as a nun-school teacher in the Wild West of Billy the Kid. Repeat.

FDR (ABC. 9:30-10 p.m.). Hitler and Mussolini threaten the world, Franco marches on Madrid.

Saturday, March 27

SATURDAY NIGHT AT THE MOVIES (NBC, 9-11:15 p.m.). Glenn Ford plays a righteous young defense lawyer in Trial (1955).

Sunday, March 28

DIRECTIONS '65 (ABC, 1-1:30 p.m.). New York Times Science Editor Walter Sullivan and Doctor of Divinity Donald Barnhouse discuss the possibilities of life in outer space.

ORIGINAL AMATEUR HOUR (CBS, 5:30-1 p.m.). First of a two-part look back on the 30-year history of The Original Amateur Hour, featuring the first on-air performances of Frank Sinatra and Robert

PROFILES IN COURAGE (NBC, 6:30-7:30 p.m.). Tom Bosley stars as Nebraska Senator George Norris, who was vilified by the press for his opposition to President Wilson's 1917 armed-ships bill.

THE SUNDAY NIGHT MOVIE (ABC, 9-11 p.m.). Paul Newman, Joanne Woodward, Sidney Poitier, Diahann Carroll and Louis Armstrong star as five expatriates in Paris Blues (1961).

Monday, March 29

THE MAN FROM U.N.C.L.E. (NBC, 8-9 p.m.). Eddie Albert guests as Brother Love, a master fiend using a religious cult as a front for his plot to conquer the world.

THE JONATHAN WINTERS SHOW (NBC, 9-10 p.m.). Comedy special, with Guests Julie Newmar and Buster Keaton. Color.

CASALS AT 88 (CBS, 10-11 p.m.). Rebroadcast of a memorable visit with the great cellist.

NIGHTLIFE (ABC, 11:15 p.m.-l a.m.). Jack Carter takes over as host.

THEATER

On Broadway

THE ODD COUPLE, by Neil Simon. Walter Matthau and Art Carney, two middle-aged newly de-weds, share living quarters and watch their friendship go on the rocks for precisely the same reasons that their marriages did. The play, on the other hand, is convulsively successful, thanks largely to deft construction by Playwright Simon (Barefoot in the Park) and daft direction by Mike Nichols.

ALL IN GOOD TIME. Bill Naughton has written a sharp-eyed comedy about a pair of newlyweds with an intimate marital problem and problem parents to boot. Naughton has some funny things to say, and Donald Wolfit and Marjorie Rhodes say them with polished expertise.

TINY ALICE, the dark lady of Edward Albee's allegory, has baffled critic and playgoer alike; only in the impeccable performances of the cast headed by Irene Worth and John Gielgud, pseudo-metaphysics take on theatrical vitality.

THE OWL AND THE PUSSYCAT. In 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 self-pity. Theater of the absurd? Certainly, but the flawless comic acting talents of Anne Jackson, Alan Arkin and Eli Wallach make it hilarious.

Off Broadway

A VIEW FROM THE BRIDGE. Arthur Miller has expanded his famed 1955 one-acter about a longshoreman's fatal and incestuous jealousy into a powerful drama that approximates, even though it falls short of the catharsis of Greek tragedy.

THE ROOM and A SLIGHT ACHE. Harold Pinter can be relied on to produce unnerving, dramatic and provocative comedies of terror, and he does it again in these two engrossing one-acters.

RECORDS

Orchestral

RiMSKY-KORSAKOV: SCHEHERAZADE (London). The music is properly aglow with Oriental romance, as one would expect from Leopold Stokowski and the London Symphony, but the news lies in the sound.

Stokowski is making his debut in Phase4 Stereo, a recording technique involving, among other abracadabra, 20 mikes and a 20-channel mixer. The effects are sensuous, sonically exhilarating and unnatural. The listener feels as if he were floating almost as close to the solo violin as the bow itself, while Phase 5, the last stage of the mixing, goes on between his ears.

BEETHOVEN: SYMPHONY Nos. 1 and 2 (Epic). Ending at the beginning, George Szell and the Cleveland Orchestra have now recorded all nine Beethoven symphonies. Although he amply unfolds the later more dramatic works, Szell perfectly displays his strongest virtues-- exquisite clarity, purity, precision and bright buoyancy-- in these early symphonies, still primarily classical in design.

MAHLER: SYMPHONY No. 9 (Angel; 2 LPs). Mahler's orchestral masterwork, his last completed symphony, is played in the grand manner by the Berlin Philharmonic, Sir John Barbirolli conducting. The first movement, as long as Beethoven's Fifth Symphony, is full of fluctuating rhythms that move along with a tidelike pull. Barbirolli lets them ebb and flow, then swings vigorously into the dissonant dance movement and the coarse burlesque Rondo that mock the first floating dreams.

BRUCKNER: SYMPHONY No. 8 (Deutsche Grammophon; 2 LPs). Like Mahler's

Ninth, Bruckner's Eighth lasts nearly 80 minutes; but it is a ripe and rather naive product of the 19th century, whereas the Mahler is an intense breakout into the 20th. The Berlin Philharmonic, its brasses shining, is led by Eugen Jochum, a Bruckner devotee who conducts with warm involvement.

ROUSSEL: THE SPIDER'S FEAST (Angel). For this ballet pantomime, inspired by the observations of French Entomologist Jean Henri Fabre, Roussel's impressionistic music transports the ants and the beetles into an enchanted cobwebbed garden. Andre Cluytens and the Paris Conservatory Orchestra touch other milestones of the composer's career by playing his later ballet music, Bacchus et Ariane, and the Sinfonietta for Strings, a miniature symphony in his mature classical style.

CHARLES IVES: NEW ENGLAND HOLIDAYS (Composer's Recordings, Inc.) Ives, who wove homespun materials into a startling modern fabric, is widely regarded as the prickly father of contemporary American composition. His four orchestral holiday pieces (1904-1913) are now assembled permanently for the first time in a quasi symphony; though--musical economics being what they are--all were recorded by foreign orchestras. Thus the Imperial Philharmonic Orchestra of Tokyo plays for the barn dance in Washington's Birthday, the Finnish Radio Symphony celebrates Decoration Day, Sweden's Goteborg Symphony the Fourth of July, the Iceland Symphony Thanksgiving. They manage fairly well, guided in each case by Ives's roving ambassador, Conductor William Strickland.

CINEMA

DIARY OF A CHAMBERMAID. Director Luis Bunuel (Viridiana) mitigates the imperfections of his corrosive satire with some artistry--and with Jeanne Moreau, who is cast as the Parisian servant girl in a rural landscape teeming with sadism, fetishism, frigidity, rape and murder.

HUSH . . . HUSH, SWEET CHARLOTTE. Four durable movie queens (Bette Davis, Olivia de Havilland, Agnes Moorehead, Mary Astor) turn a lushly photographed thriller into frightful fun, though the horrors provided by Producer-Director Robert Aldrich (What Ever Happened to Baby Jane?) are mostly formula.

THE SOUND OF MUSIC. Julie Andrews winningly upstages the Tyrolean Alps and surmounts heaps of sugary sentiment in this Richard Rodgers-Oscar Hammerstein operetta about the Trapp Family Singers who fled Nazi-dominated Austria in 1938.

RED DESERT. A wasteland created by heavy industry pollutes the psyche of a young wife (Monica Vitti) in Director Michelangelo Antonioni's first color film--a rich, beautiful, often painterly flow

of images to vary his now-familiar themes (L'Avventura, La Notte).

HOW TO MURDER YOUR WIFE. Jack Lemmon wakes up married to a girl in a million (Italy's 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. With impressive insight and objectivity, this drama gets under the skin of a confused young Negro (Ivan Dixon) who tries to run away from his life, his wife (Abbey Lincoln) and his color.

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).

BOOKS

Best Reading

SOUL OF WOOD, by Jakov Lind. The author, whose Austrian Jewish parents were killed by the Nazis, picks relentlessly at the fabric of guilt and complicity that made all humanity an accessory to Germany's crimes. Lind has a mocking, graceful wit that is both casual and lethal.

LINCOLN'S SCAPEGOAT GENERAL, by Richard S. West Jr. Benjamin Butler--"The Beast"--was one of the Civil War's toughest Northern generals. A famed criminal lawyer in private life, he earned Southerners' undying hatred as the harsh but generally fair governor of occupied New Orleans, later became an impassioned champion of liberal causes during the Reconstruction. Historian West succeeds admirably in separating an unusual man from the usually accepted Beast.

THE GOLD OF THE RIVER SEA, by Charlton Ogburn. Author Ogburn (The Marauders) fills a rousing, rambling novel with high adventure and lusty characters, but is himself possessed--and possesses his readers--by the grandeur and savagery of the Amazon, "The Inland Sea."

PRETTY TALES FOR TIRED PEOPLE, by Martha Gellhorn. In three long short stories set in the weary world of Continental society, people manipulate friends as well as cards to shake their boredom. In both games there is always a loser, but in worldly collapse each of Gellhorn's failures finds the clue to moral regeneration.

THE ORDWAYS, by William Humphrey. With rich, wry Southern recall, Novelist Humphrey (Home from the Hill) retraces a family's oddball odyssey from post-Civil War Tennessee to East Texas and down to the Mexican border, marking every mile with fond and funny bouquets.

HAKLUYT'S VOYAGES, edited by Irwin Blacker. Highlights of the compendium of diaries, letters and essays that served as a contemporary Baedeker to far-off worlds and survives as the most authentic record of Elizabethan England's rise from seagirt obscurity to world power.

Best Sellers FICTION 1. Herzog, Bellow (1 last week) 2. Funeral in Berlin, Deighton (2) 3. Hurry Sundown, Gilden (3) 4. The Man, Wallace (5) 5. Up the Down Staircase, Kaufman (6) 6. Hotel, Hailey (4) 7. The Legend of the Seventh Virgin, Holt (8) 8. The Rector of Justin, Auchincloss

9. This Rough Magic, Stewart 10. The Ordways, Humphrey (10)

NONFICTION 1. Markings, Hammarskjoeld (1)

2. Queen Victoria, Longford (3)

3. The Italians, Barzini (5) 4. The Founding Father, Whalen (2) 5. Reminiscences, MacArthur (4)

6. My Shadow Ran Fast, Sands (6)

7. Sixpence in Her Shoe, McGinley (8)

8. How To Be a Jewish Mother, Greenburg (10)

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

10. Stagestruck, Zolotow (9)

*All times E.S.T.

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