Wednesday, November 6

BOB HOPE SPECIAL (NBC, 9-10 p.m.).* Guests: Barbara Eden and Ray Charles.

CAMPAIGN '68: WHAT HAPPENED LAST NIGHT (CBS, 10-11 p.m.). A roundup of Election Night results, with Walter Cronkite and Eric Sevareid, and a series of reports by regional correspondents around the U.S.

Friday, November 8

THE DON RICKLES SHOW (ABC, 9-9:30 p.m.). Carol Burnett spars with Mr. Warmth.

Saturday, November 9

N.C.A.A. FOOTBALL (ABC, 1:45-5 p.m.). Purdue v. Minnesota, at Memorial Stadium, Duluth.

HAWAIIAN INTERNATIONAL OPEN GOLF TOURNAMENT (NBC, 6:30-7:30 p.m.). Jim Simpson, Charlie Jones and Pat Hernon describe the competition between top golfers, via satellite telecast, from Waialae Country Club in Honolulu. Final holes tomorrow 6-7:30 p.m.

SATURDAY NIGHT AT THE MOVIES (NBC, 9-11:45 p.m.). To Kill a Mockingbird (1962). A young Alabama Negro is charged with rape, and Lawyer Gregory Peck comes to the defense. The film adaptation of Harper Lee's 1960 Pulitzer prizewinning novel won three Oscars.

Sunday, November 10

N.F.L. FOOTBALL (CBS, 4 p.m. to conclusion). New York Giants v. Dallas Cowboys in Dallas.

Check local listings for dates and times of these NET specials:

NET JOURNAL. "Appalachia: Rich Land, Poor People." NET examines the distressing failure of the federal poverty programs that were designed to halt the exodus of population from the coal-rich lands of Appalachia.

NET FESTIVAL. "Happy New Yves." French Entertainer Yves Montand sings, clowns and dances his way through 17 musical numbers. Dance accompaniment by the Dirk Sanders Ballet.

THE WORLD WE LIVE IN. "The Winners."

First of a twelve-part series on nature and science films: an exploration of the microworld of insects.

THEATER

On Broadway

ROCKEFELLER AND THE RED INDIANS. As a parody of all the cowboy movies ever made, this zany farce will seem either too silly for words or confoundedly hilarious. The British cast is super and contributes mightily to the sly, broad, and sometimes salacious flavor of the humor.

THE APA REPERTORY COMPANY whizzes through Moliere's The Misanthrope with airy grace and style but then unhappily gets bogged down by the heavily symbolic, psychological poetry of T. S. Eliot's The Cocktail Party.

THE GREAT WHITE HOPE. Playwright How ard Sackler models his tragic hero on Jack Johnson, the first Negro heavyweight champion. James Earl Jones gives a performance of leonine power, but otherwise the acting is American primitive--as is Edwin Sherin's staging.

THE MAN IN THE GLASS BOOTH. Donald Pleasence attacks his role as a Jewish tycoon who masquerades as a Nazi SS officer with a furious and brilliant intensity. But Robert Shaw's insights about victim and victimizer are transparent, and his drama superfluous.

LOVERS AND OTHER STRANGERS spins through four different steps in the mating dance. The first three playlets are gently amusing, and the fourth, enhanced by Richard Castellano as a beer-bellied slob whose marriage is a grind, foams with compassionate laughter.

Off Broadway

TEA PARTY and THE BASEMENT. In any play by Harold Pinter, the questions are the answers, and the denouement is total uncertainty. The audience knows less at the end than it thought it knew at the beginning. These one-acters are lesser Pinter, but the playgoer is still held in the author's subtle grip. In Tea Party, a successful manufacturer of "sanitary wares" is driven into a catatonic state by the actions of his secretary, his wife and her brother. The Basement presents the members of a menage a trois in an intimate power struggle.

HOW TO STEAL AN ELECTION is unsubtle--an indelicate, exuberant American-style political revue that satirizes all the U.S. Presidents from G.W. to L.B.J.

RECORDINGS

Pop

THE INCREDIBLE STRING BAND: THE HANG MAN'S BEAUTIFUL DAUGHTER (Elektra). These literate, far-out English minstrels--Robin Williamson and Michael Heron--slither and squelch on their ouds, gimbris, Panpipes, water harps and dulcimers like the amoebas they celebrate in A Very Cellular Song ("If I need a friend I just give a wriggle,/ Split right down the middle,/ And when I look there's two of me"). They also sing of water, witches' hats, minotaurs and neon cities ("You see, I think that only the sun knows how to be quietly bright"). All very appealing, but not for dancing.

BIG BROTHER AND THE HOLDING COMPANY:

CHEAP THRILLS (Columbia). Few singers put more into the blues than Janis Joplin, whose big raw voice is an instrument in the process of being destroyed by the passion with which she plays it. "Take another little piece of my heart now, baby, you know you've got it if it makes you feel good," she sings in one number. She dispenses her voice with compulsive generosity throughout the album, especially in Ball and Chain, in which, like an alley cat in heat, she yowls, screeches, scratches, moans and wails to an unearthly climax. The song brought an uncommon ovation from the audience at the Fillmore in San Francisco, where it was recorded live.

THE DOORS: WAITING FOR THE SUN (Elektra). Jim Morrison poignantly expresses youth's fear of growing up, in the haunting Summer's Almost Gone ("When summer's gone, where will we be?") and the ironically lilting Wintertime Love ("Winter's so cold this year"). The full depth of his militance and anguish explodes in

The Unknown Soldier, a chilling dramatization of an execution by firing squad, complete with jack boots, drum roll and volley. "Make a grave for the unknown soldier," Morrison croons reverently after the firing. Then he cuts abruptly and savagely back home, where, with bells tolling and crowds cheering, he shouts again and again, "It's all over! The war is over!"

THE CHAMBERS BROTHERS: A NEW TIME-A NEW DAY (Columbia). "Do your thing . . . Lookin' good--sho nuff . . . Have you got the feeling baby? Yeah, yeah," sing the Chambers Brothers. Their rhythm and blues is joyous and earthy, and they've got a boss feeling, sho miff. Their songs are slow and easy (Satisfy You), slow and dirty (Rock Me Mama), fast and hand-clapping (I Can't Turn You Loose).

THE GROUP IMAGE: A MOUTH IN THE CLOUDS (Community). This is the first recording by the Manhattan hippie tribe that has been turning on with sound and light in a couple of off-Broadway ballrooms; it will soon open its own permanent ballroom in the East Village. The five-man band has a driving, express-train beat, and a sharp and shimmering harmony, and a high voltage singer named Sheila. Their sound is all their own, but there are some familiar touches of The Lovin' Spoonful (Grew Up All Wrong) and Jefferson Airplane (Banana Split). In Banana Split, two electronic zaps project the listener, as through a time warp, into a liquid Eden of tinkling bells and clicking percussion. The Group Image calls it the Twinkie Zone, and it's a pretty good place to be.

CINEMA

2001: A SPACE ODYSSEY. The enigma of man's place in the cosmos is the theme of Director Stanley Kubrick's technically dazzling epic of the space age.

WEEKEND. Jean-Luc Godard's savage attack on bourgeois society opens with satirical brilliance, then degenerates into dreary political rhetoric.

FUNNY GIRL. A sentimental musical biography of Fanny Brice, custom-made for the brassy, sometimes brazen talents of Leading Lady Barbra Streisand.

THE SUBJECT WAS ROSES. The film adaptation of Frank D. Gilroy's play about familial agony in The Bronx is brought to life by the honest, homely acting of Patricia Neal, Jack Albertson and Martin Sheen.

ROMEO AND JULIET. Franco Zeffirelli turns one of Shakespeare's most familiar plays into a movie of stunning immediacy. Leonard Whiting and Olivia Hussey, as the passionate, star-crossed lovers, perform with a maturity beyond their years.

WARRENDALE. This magnificent Canadian documentary by Allan King movingly depicts the troubled lives of a small group of emotionally disturbed children.

THE BOFORS GUN. Life in the postwar British army is the subject of this vigorously antimilitary drama. David Warner and Nicol Williamson offer two of the best screen performances of the year.

THE HEART IS A LONELY HUNTER. Alan Arkin's magnificent performance as the mute in this Hollywood adaptation of Carson McCullers' novel is the only real glimmer of poetry in an otherwise determinedly prosaic film.

VOYAGE OF SILENCE. A deceptively simple story of a young Portuguese carpenter emigrating to Paris is given uncommon strength and stature by the compassionate observation of Director Christian de Chalonge.

RACHEL, RACHEL. Actor Paul Newman makes his debut as director in a quiet tale of a frustrated schoolteacher just entering middle age. His wife. Actress Joanne Woodward, gives the film an added stature with her achingly real portrayal of the heroine.

BOOKS

Best Reading

THE PUBLIC IMAGE, by Muriel Spark. The author is out to tease, tantalize and teach, and she succeeds in doing all three in this story of a movie star who must decide between private truth and public life.

EVA TROUT, by Elizabeth Bowen. This is a rare commodity on today's fiction market: a novel of sensibility. The story is about a wandering, capricious heiress in whose wake many lives bob helplessly.

THE PROGRESSIVE HISTORIANS, by Richard Hofstadter. A graceful and perceptive study of the three men--Frederick Jackson Turner, Charles A. Beard and V. L. Par-rington--who have most shaped America's conception of its past.

A SMALL TOWN IN GERMANY, by John le Carre. A missing embassy official, stolen secret files, and the illusion-fed machinations of the diplomatic life in Bonn are all part of the puzzle in this novel of suspense and political intrigue.

A FAN'S NOTES, by Frederick Exley. A young man, unable to participate in the American myth, uses pro-football heroes to act out his own ineluctable dreams.

STEPS, by Jerzy Kosinski. Acts of cruelty, revenge and voyeurism unfold in a series of bleak episodes that are bound together by the author's private vision of inhumanity.

THE FIRST CIRCLE, by Alexander Solzhenitsyn. This classic, which will be read long after the cold war is forgotten, reveals the ways of state tyranny and the private means men find to fight it.

GEORGE ELIOT, by Gordon Haight. An admirable biography of a writer whose life was as rich in Victorian drama and morality as any of her novels.

Best Sellers

FICTION

1. The Salzburg Connection, Maclnnes (3 last week)

2. Preserve and Protect, Drury (2)

3. Airport, Hailey (1)

4. The Senator, Pearson (7)

5. The Hurricane Years, Hawley (4)

6. Testimony of Two Men, Caldwell (5)

7. Couples, Updike (8)

8. The First Circle, Solzhenitsyn (9)

9. True Grit, Portis (10)

10. Heaven Help Us, Tarr

NONFICTION

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

2. The American Challenge, Servan-Schreiber (4)

3. The Beatles, Davies

4. The Rich and the Super-Rich, Lundberg (2)

5. Sixty Years on the Firing Line, Krock (3)

6. The Case Against Congress, Pearson and Anderson (9)

7. Soul on Ice, Cleaver (7)

8 Between Parent and Child, Ginott (5)

9. Iberia, Michener (6)

10. Of Diamonds and Diplomats, Baldridge

*All times E.S.T.

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