TELEVISION

Friday, July 12

CBS FRIDAY NIGHT MOVIES (CBS, 9-11 p.m.).* "I Want to Live!, Susan Hayward's Academy Award-winning performance as a girl who, they said, murdered in hot blood. Death-cell drama based on a factual California murder case.

Saturday, July 13

BRITISH OPEN GOLF CHAMPIONSHIP (ABC, 10:30 a.m. to noon). It's the Early Birdie that catches the winning putt on this live telecast from Carnoustie Golf Links, Scotland. The 97th British Open, oldest golf championship in the world, will be rebroadcast 3:30-5 p.m.

Sunday, July 14

LOOK UP AND LIVE (CBS, 10:30-11 a.m.). "We Will Speak, Who Will Answer?" The people of Portland, Ore., speak and answer in this second part of a series that studies the ways in which eight different cities are handling race relations, housing and other problems through community action.

Monday, July 15

ONE LIFE TO LIVE (ABC, 3:30-4 p.m.). Soap operas don't necessarily have to wash all white any more. In this new serial set in and around Philadelphia, one of the central figures is a black intern who wants to live it like it is. Premie're.

TIME FOR AMERICANS (ABC, 7:30-8:30 p.m.). The fourth show in this series, on "Prejudice and the Police," interviews Mayor Louie Welch of Houston, and his chief of police, shows direct confrontation with cops and members of minority communities. Psychological refereeing is provided by Drs. Melvin P. Sikes and Sidney Cleveland.

Check local listings for date and time of these NET programs:

NET JOURNAL (Shown on Mondays). "Justice and the Poor" or, more properly, injustice and the poor, is the subject of a tough-hitting documentary that shows how, all too often, the law can confuse rather than comfort the poor man.

BLACK JOURNAL (Shown on Wednesdays). This week the magazine program includes a look at all-black Roosevelt City, outside Birmingham; a report on Howard University's research on sickle-cell anemia, the debilitating blood disease indigenous to the Negro; interviews with Actor William Marshall and Playwright Ed Bullins, with an extract from the latter's A Son Comes Home; and a fascinating look at children's games compiled by Leon Bibb.

THEATER

Across North America, the festival season is in full voice, with accents ranging from Elizabethan to modern:

AMERICAN SHAKESPEARE FESTIVAL, Stratford, Conn. Two comedies, As You Like It and Love's Labour's Lost, provide the light moments, while Richard II deals with weightier affairs of men and state. A dash of Shaw is offered in Androcles and the Lion. Through Sept. 15.

STRATFORD FESTIVAL, Stratford, Ont. Romance runs rampant with Romeo and Juliet and A Midsummer Night's Dream, while Tartuffe adds Gallic spice to the Elizabethan fare. On July 22, The Three Musketeers swashbuckle their way on stage, and on July 23, some Chekhovian melancholy is introduced in The Seagull. Samuel Beckett's Waiting for Godot provides a 20th century touch beginning Aug. 13. The season ends Oct. 12.

CHAMPLAIN SHAKESPEARE FESTIVAL, Burlington, Vt., from July 22 through Sept. 21. Macbeth, All's Well That Ends Well, and Henry IV, Part 2, are the Shakespearean entries, counterpointed by Waiting for Godot.

SHAKESPEARE SUMMER FESTIVAL, Washington, D.C. Romeo and Juliet is transplanted from Verona to 19th century New Orleans, and Juliet transformed into the daughter of a wealthy Negro. Philip Burton's production runs from July 10 through Aug. 25.

COLORADO SHAKESPEARE FESTIVAL, Boulder, Colo., offers Macbeth, Henry IV, Part 2, and The Two Gentlemen of Verona from Aug. 2 through Aug. 18.

NATIONAL SHAKESPEARE FESTIVAL GROUP, San Diego. The 1603 first folio text of Hamlet was trimmed by Director Ellis Rabb to concentrate on the play's contemporary values. As You Like It and King John complete the program, which runs through Sept. 15.

OREGON SHAKESPEARE FESTIVAL, Ashland, Ore. Cymbeline, Hamlet, As You Like It and Henry VIII make up the 28th season of this festival, starting July 20. Lock Up Your Daughters, a 20th century version of a Henry Fielding work, will play twelve matinee performances.

SHAW FESTIVAL, Niagara-on-the-Lake, Canada. Jessica Tandy heads the cast of Heartbreak House, June 27 through July 28; Miche'al Macliammoir plays Wilde in The Importance of Being Oscar, July 30 through Aug. 4. A Feydeau farce, called The Chemmy Circle, rounds out the season Aug. 8 through Sept. 1.

RECORDS

Soul & Similar

OTIS REDDING: THE IMMORTAL OTIS REDDING (ATCO). Before his death last December in an airplane crash, Otis Redding showed them all how to pack soul into a song. Most of the numbers on this posthumous release were written by Otis himself, and they are tailored to his own special insights. Even the traditional Amen demonstrates his strength-through-vulnerability, his violent and cumulative abandon, and his personalized parenthetical exclamations ("Even in your own song you've got to let your little light shine") are reminders that Redding's instincts and honesty will be missed.

ARETHA FRANKLIN: ARETHA NOW (Atlantic). Aretha Franklin's latest is her bestest. Her vigorous ways with her voice can be so hypnotizing that the fact that Aretha is also quite a pianist is often forgotten. In this album, she backs herself up in great style, underscoring the notion that Lady Soul will never stop living for her music, and neither will most of her fans. Producer Jerry Wexler and Engineer Tom Dowd deserve several amens too for giving Aretha her head.

JAMES BROWN: I GOT THE FEELIN' (King). Brown is a study in self-control, for he always sounds as if he were about to disintegrate into tiny fragments of squeals, shouts and groans. Fortunately, he never does. Though his style is reputed to be the essence of soul, his methods are more often a matter of effect than conviction, a parody rather than the picture of eroticism. Yet the album contains some good sounds in the back-up rhythms, and particularly in the long stretches of purely instrumental freneticism devised by "Mr. Dynamite" himself.

LOU RAWLS: FEELIN' GOOD (Capitol). Unlike many a soul singer, Lou Rawls leaves no doubt about what he is saying, as well as feeling. His machete-sharp enunciation is a major component of his thoroughly masculine power, and he means what he says. The album's selection of songs is felicitous, particularly the bitter My Ancestors, and the wry Hang-Ups (that manages to use nearly every cliche in the contemporary vocabulary: shook-up, with-it, uptight, hung-up and groovin').

THE TEMPTATIONS: WISH IT WOULD RAIN (Gordy). The five boys from Motown display a studied sophistication that might be called "hybrid Soul." They are backed up by an outfit that sounds like a cross between the Vienna Philharmonic, Herb Alpert and an electrified Gene Autry. The occasional catch in the throat and sad hoot do not a soul sound make, but the music is entirely inoffensive. Besides, the cover photograph depicting The Temptations as utterly defeated Foreign Legionnaires has to be the funniest of the year.

DIONNE WARWICK: VALLEY OF THE DOLLS (Scepter). To some ears, Dionne is too "bleached," or white-sounding, to be a soul singer; but the best of her exceptional ways with a note are strictly soul-derived. Though Do You Know the Way to San Jose? is a sleekly "white", and delightful, song, others, such as Let Me Be Lonely, pay their dues to rhythm & blues. Both songs, along with several others on the album, were written by Burt Bacharach, one of the more able and sophisticated composers in the business.

CINEMA

INADMISSIBLE EVIDENCE. John Osborne's unsparing portrait of a 39-year-old London solicitor who realizes abruptly that his life is "irredeemably mediocre" makes an impressive transition to the screen, with Actor Nicol Williamson giving acrid life to the aloes of Osborne's lines.

2001: A SPACE ODYSSEY. As a spaceship plows the galactic void, Director Stanley Kubrick searches for the meaning of life 33 years from now and turns the quest into a dazzling, and demanding, cinematic experience.

PETULIA. Julie Christie and George C. Scott get top billing in this ribald, ricocheting Richard Lester film of a love affair between a crusty, cutup doctor and a flouncy, flipped-out wife; the film's biggest star, however, remains the compelling city of San Francisco.

LES CARABINIERS. When he is not behaving like a brat, Director Jean-Luc Godard can be quite grown up, as he once demonstrated with Breathless and now shows again with this dry, abrasive antiwar film that is at once a satire of post-war Europe and a subtle dissection of aggression.

ROSEMARY'S BABY. Satan is alive and living at the Bramford, a haunted apartment house in Manhattan, where an ancient witch (Ruth Gordon) troubles a pregnant wife (Mia Farrow); both ladies are superb, thanks to the devilishly deft direction of Roman Polanski (Knife in the Water, Repulsion), who has a nifty horror hangup.

THE ODD COUPLE. Walter Matthau and Jack Lemmon have a marvelous time picking and raging at each other in this stage-bound adaptation of Neil Simon's Broadway comedy about two badly matched buddies who try to help each other through the traumas of divorce.

BOOKS

Best Reading

INTELLECTUAL ORIGINS OF AMERICAN RADICALISM, by Staughton Lynd. A historical handbook for the armchair revolutionary by one of the leading scholars of the New Left.

THE UNIVERSAL BASEBALL ASSOCIATION, INC., J. HENRY WAUGH, PROP., by Robert Coover. The cosmos is an intricate baseball game, or is it vice versa, in this entertaining allegory about an accountant who destroys himself when he relinquishes reality for illusion.

DARK AS THE GRAVE WHEREIN MY FRIEND IS LAID, by Malcolm Lowry. A 1945-46 visit to Mexico furnished the basis for this fragmented, posthumous half-novel by a boozy-brilliant man to whom writing was an unending journey and life the landscape under the volcano.

SLOUCHING TOWARDS BETHLEHEM, by Joan Didion. Twenty essays by a gifted writer who transforms even the most joyous of people and places (hippies, Haight-Ashbury) into her own melancholy image.

ENDERBY, by Anthony Burgess. In this retouching of an earlier portrait of the artist as a middle-aged gasbag, the gifted English novelist combines the elements of entertainment and enlightenment with uncommon artistry.

TRUE GRIT, by Charles Portis. An uproarious period piece about a 14-year-old girl who turns the wild frontier topsy-turvy while avenging the murder of her pa.

COUPLES, by John Updike. One of America's most stylish novelists turns his lyric imagination loose on adultery and the search for salvation in a richly plotted story set in a New England small town.

Best Sellers

FICTION

1. Airport, Hailey (1 last week)

2. Couples, Updike (2)

3. Myra Breckinridge, Vidal (3)

4. Testimony of Two Men, Caldwell (4)

5. Topaz, Uris (5)

6. Vanished, Knebel (6)

7. The Confessions of Nat Turner, Styron (8)

8. Christy, Marshall (10)

9. Red Sky at Morning, Bradford (9)

10. The Tower of Babel, West

NONFICTION

1. Iberia, Michener (3)

2. The Money Game, 'Adam Smith' (1)

3. Between Parent and Child, Ginott (6)

4. The Naked Ape, Morris (4)

5. Or I'll Dress You in Mourning, Collins and Lapierre (5)

6. The Right People, Birmingham (2)

7. The Center, Alsop (9)

8. The Rich and the Super-Rich, Lundberg

9. The French Chef Cookbook, Child (7)

10. The Double Helix, Watson

*All times E.D.T.

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