Wednesday, January 29 THE GLEN CAMPBELL GOODTIME HOUR (CBS, 7:30-8:30 p.m.).* Glen Campbell stars in the premiere of his new variety hour with Guests Tom and Dick Smothers, Bobbie Gentry, Pat Paulsen and Singer-Composer John Hartford.
Thursday, January 30 NET PLAYHOUSE (NET, 8-9:30 p.m.). Athol Fugard's drama, The Blood Knot, explores the relationship of two South African brothers--one black and the other who could pass for white.
Friday, January 31
THE HARLEM GLOBETROTTERS (CBS, 7:30-8:30 p.m.). Soupy Sales will act as the Trotters' coach in a game against the Washington Generals at the Felt Forum, Madison Square Garden, N.Y.
Saturday, February 1
THE ANDY WILLIAMS SAN DIEGO OPEN (ABC, 6:30-7:30 p.m.). The third round from Torrey Pines Golf Course, San Diego. The fourth round on Sunday from 5-7p.m.
Sunday, February 2
CBS CHILDREN'S FILM FESTIVAL (CBS, 1:30-2:30 p.m.). Skinny and Fatty is a Japanese film about two young boys, one of whom is introspective and the other outgoing, and their involvement with the adult world. Repeat.
NATIONAL HOCKEY LEAGUE (CBS, 2:30-5 p.m.). Montreal at Chicago.
THE 215Y CENTURY (CBS, 6-6:30 p.m.). "The Wild Cell" takes a look at the latest research to determine the cause and cure of cancer.
MUTUAL OF OMAHA'S WILD KINGDOM (NBC, 6:30-7 p.m.). The annual spawning run of salmon fighting their way up Alaskan rivers is detailed in "The Return of the Salmon."
WALT DISNEY'S WONDERFUL WORLD OF COLOR (NBC, 7:30-8:30 p.m.). A wily Texas canine matches wits with a thief intent on stealing from an itinerant peddler's wagon in "Pancho, Fastest Paw in the West."
Monday, February 3
NET JOURNAL (NET, 9-10 p.m.). "American Samoa: Paradise Lost?" examines the tropical paradise now in the throes of a "culture clash" since educational television has revolutionized learning and tourists have discovered Pago Pago.
Tuesday, February 4
NET FESTIVAL (NET, 9-10 p.m.). Cinema choreography through the years from Busby Berkeley to Shirley Clarke is the subject for "The Film Generation on Dance."
THEATER
On Broadway
HADRIAN VII is a deft dramatization by Peter Luke of fact and fantasy in the life of Frederick William Rolfe, a would-be priest who dreamed of being called first to the cloth and then to the throne of St. Peter--becoming the second English
Pope in history. With an outstanding command of technique and a wealth of small mannerisms under perfect control, Alec McCowen displays Rolfe's narcissism and cunning, his insincerity, vulnerability and genuine religious obsession. His performance may well be one of the major theatrical events of the decade.
FORTY CARATS is a comedy with Julie Harris as a middle-aged divorcee and Marco St. John as the young man who successfully woos her with ouzo. Directed with crisp agility by Abe Burrows, the play is never less than civilized fun.
PROMISES, PROMISES is a slick, amiable and derivative musical based on the film The Apartment. Jerry Orbach is splendid as the tall, gangling antihero, but the rhythms of Burt Bacharach's score sound something like sporadic rifle fire.
JIMMY SHINE. Playwright Murray Schisgal has created a totally transparent character; to see him once is to know him totally. What makes Jimmy more winning than his fate is Dustin Hoffman's bravura performance as the luckless misadventurer.
ZORBA. Producer-Director Harold Prince seems to have tried to fashion a sequel to his Fiddler on the Roof, camouflaged with a Greek accent. But Zorba isn't Jewish, and the miscasting and bogus bouzouki music scarcely ever evoke the characteristic tone of Levantine lament.
KING LEAR is the best work that the Lincoln Center Repertory Theater Las ever offered. Lee J. Cobb, aided by a supporting cast that truly supports, gives the best performance of his career in the title role.
Off Broadway
LITTLE MURDERS. This revival of Cartoonist Jules Feiffer's first full-length play still suffers from being a series of animated cartoons spliced together rather than an organic drama. What Feiffer does achieve, with the aid of Alan Arkin's masterly direction and a remarkably resourceful cast, is social observation that is razor sharp.
TO BE YOUNG, GIFTED AND BLACK is something of a milestone in the current black-white confrontation. In a tribute to the late Lorraine Hansberry put together from her own writings, the able, interracial cast puts on a performance that reflects her hot anger at indignity and injustice.
DAMES AT SEA. This parody of the old Busby Berkeley-type movie musicals of the '30s has an engaging cast headed by Bernadette Peters, and some of the most ingenious staging on or off Broadway.
TEA PARTY and THE BASEMENT are two one-acters by Harold Pinter. In Tea Party, Sisson, a manufacturer of bidets, is thrown into a catatonic state at an office tea party by the ambiguous relationships of his family and his secretary. The Basement is about a man and his girl friend who move in to share an old chum's flat.
RECORDINGS
Modern composers--inspired by the development of stereophonic tape and amplifiers--have rediscovered the possibilities of space in music, and they have made it a component of their works, much in the way that Renaissance musicians placed brass choirs in several corners of a cathedral, so that their sounds could meet, mingle and clash. With the following avant-garde works, listening to the music at home on stereo speakers or headphones is probably a better way to comprehend the composer's design than hearing it in a concert hall:
KARLHEINZ STOCKHAUSEN: GRUPPEN FOR THREE ORCHESTRAS; CARRE FOR FOUR ORCHESTRAS AND FOUR CHOIRS (Deutsche Grammophon). Composed between 1955 and 1959, these scores represent Stockhausen's first space compositions using nonelectronic sounds. Significantly, both works had their premieres in large, barnlike fairground buildings rather than on normal concert stages. In Gruppen, three orchestral groups totaling 109 players curve around three sides of the audience; in Carre, four groups of 20 players each, plus eight to twelve singers, face outward from a central circle. Both compositions fill the air with hard-edged blocks of dissonance that collide, clash and splinter with a force that is almost visual. The ultimate result is not unlike life in a crowded tenement building, with many windows open and a blaring radio in each apartment.
ELLIOTT CARTER: DOUBLE CONCERTO (Columbia). This terse, intensely cerebral score creates its stereophonic effect across the expanse of a normal concert stage, as two small orchestras, one centered around a harpsichord and the other around a piano--but both conducted by Frederik Prausnitz --toss questions and answers back and forth on some unnamed, obviously serious topic. The most striking musical effect is a slow, undulating, ill-tempered growl from the percussion toward the end of the piece that seems to sweep back and forth from one group to the other, murmuring imprecations at both.
GYORGY LIGETH LUX AETERNA (Deutsche Grammophon). Moviegoers may be familiar with Ligeti's score from its use in 2001: A Space Odyssey, where it accompanies the discovery of the monolith on the moon. The music is not conceived stereophonically but, like a clever piece of audible op art, achieves that effect from its dense-textured 16-part counterpoint, which seems to shimmer around its source in concentric waves. As an exercise in the deceptive qualities of pure sound, it is an awesome tour de force.
CINEMA
RED BEARD. Japan's Akira Kurosawa is one of the world's greatest film makers, and in this deceptively simple story about the spiritual growth of a young doctor, he has made one of his greatest films. Kurosawa's canvas is the whole range of human experience. His techniques are impeccable, and his actors--especially the justly famed Toshiro Mifune--are among the most accomplished ever to appear on screen.
THE SHAME. Ingmar Bergman's 29th film is a tonal allegory involving a nameless war, a broken marriage and existential doubt. The performances by such Bergman regulars as Max von Sydow and Gunnar Bjornstrand are letter-perfect, but Liv Ullman, newest member of the Bergman company, portrays the spectrum of feminine response with special brilliance.
FACES. John Cassavetes wrote and directed this grim and gritty study of the vicissitudes of love and marriage at middle age. The film is alternately powerful and dreary and" demands more sympathy for its characters than many members of the audience will want to give.
THE FIXER is actually a 20th century Job, who becomes, to his own surprise, something of a hero. John Frankenheimer directs this adaptation of Bernard Malamud's novel with impressive force, while such actors as Alan Bates (in the title role), Dirk Bogarde and Ian Holm play difficult parts with vigorous dedication.
THE NIGHT THEY RAIDED MINSKY'S is a bright and sassy valedictory valentine to oldtime burlesque. The tone of the film is predominantly affectionate, and excellent performances by Jason Robards, Norman Wisdom, Britt Ekland, Harry Andrews and Joseph Wiseman contribute to the general revelry.
THE FIREMEN'S BALL. Under the direction of Milos Forman (Loves of a Blonde), a group of firemen stage a party in honor of their retiring chief and act out a neat parody of Communist bureaucracy.
CHITTY CHITTY BANG BANG is the sound that a magic car makes in this slightly less than enchanting musical about a pixilated inventor (Dick Van Dyke), his two pixilated offspring and his pixilated girl friend (Sally Ann Howes).
OLIVER is a treat--and a sumptuous one --for everyone in the family. Dickens' reformist zeal has been eliminated, but a good score, handsome sets, wizardly direction (by Carol Reed) and sprightly performances are ample compensation.
YELLOW SUBMARINE. The Beatles appear in animated form in this sprightly and sometimes derivative cartoon adventure that goes on for too long but has some amusing moments, thanks mostly to the droll ideas and graphic artistry of Animator Heinz Edelmann.
BULLITT. Steve McQueen is a tough, ice-cold San Francisco cop, pursuing bad guys all over the place. The story is comfortably familiar, but Director Peter Yates freshens it up with some modish visual effects and a chase scene that seems to physically involve the viewer.
BOOKS
Best Reading
HIS TOY, HIS DREAM, HIS REST, by John Berryman. Concluding the cycle of poems begun in 77 Dream Songs about a white American in early middle age, Berryman comments on life in the last eleven years and the whole range of human experience.
ALEXANDER POPE, by Peter Quennell. A lucid biography of the great 18th-century poet, a proud and petulant man who used words as sticks and stones in his savage satires.
THE VALACHI PAPERS, by Peter Maas, recounts one man's career in the Mafia. The tale is made all the more fascinating by the author's observation: "If the Cosa Nostra's illegal profits were reported, the country could meet its present obligations with a 10% tax reduction instead of a 10% surcharge increase."
JOYCE GARY, by Malcolm Foster. The discontent of the artist in organized society emerges as the major theme in this first full-scale biography of the late author of such novels as The Horse's Mouth and Herself Surprised.
SILENCE ON MONTE SOLE, by Jack Olsen. In the fall of 1944, Nazi SS death squads rounded up, shot down, grenaded and then burned more than 1,800 inhabitants of the villages around Monte Sole in north central Italy. Author Olsen performs a journalistic tour de force as he records this atrocity, which was only a footnote to the story of the Italian campaign.
MiLLAIS AND THE RUSKINS, by Mary Lutyens. The odd marriage of the Victorian critic and esthete is given an enlightened going over by a British biographer.
TURPSN, by Stephen Jones. Beneath apparently calm minds, this novel discovers roiling terrors and savage comedy.
Best Sellers
FICTION
1. The Salzburg Connection, Maclnnes (1 last week)
2. A Small Town in Germany, le Carre (2)
3. Airport, Hailey (3)
4. Preserve and Protect, Drury (4)
5. Force 10 from Navarone, MacLean (7)
6. And Other Stories, O'Hara (6)
7. The First Circle, Solzhenitsyn (5)
8. Testimony of Two Men, Caldwell (10)
9. A World of Profit, Auchincloss 10. The Hurricane Years, Hawley (9)
NON FICTION
1. The Money Game, 'Adam Smith' (1)
2. The Day Kennedy Was Shot, Bishop (4)
3. The Arms of Krupp, Manchester (2)
4. Sixty Years on the Firing Line, Krock (8)
5. Instant Replay, Kramer (3)
6. Anti-Memoirs, Malraux (9)
7. The Joys of Yiddish, Rosten (10)
8. The Rich and the Super-Rich, Lundberg (5)
9. Miss Craig's 21-Day Shape-Up Program for Men and Women, Craig
10. Lonesome Cities, McKuen
* All times E.S.T.
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