C01 1 **[072 TEXT C01**] C01 2 *<*5Television*> C01 3 *<*2LIFE OF MISS NIGHTINGALE*> C01 4 * C01 5 |^*0The {0*2BBC*0}'s dramatised documentary on Florence C01 6 Nightingale last night cleverly managed to suggest the person behind C01 7 the legend. C01 8 |^While never minimising the immensity of her work, it lifted the C01 9 saintly halo which usually surrounds her name to reveal a warm, C01 10 dedicated person who accomplished most by perseverance and hard work. C01 11 |^Most stories of Miss Nightingale begin and end with her work in C01 12 the Crimea. ^This one started from that point and devoted itself to C01 13 her lifelong campaign to improve nursing in this country. ^The C01 14 documentary managed to show the obstacles and her devotion. C01 15 |^Moira Fraser's Miss Nightingale was a mixture of the dramatic and C01 16 the sincere. ^Demure one moment, hard and decisive the next, she C01 17 caught the dual sides of a complex character. ^The production by Bill C01 18 Duncalf compressed a long and sometimes rambling story into a C01 19 concentrated comprehensive survey of a life work. C01 20 |^{0P. J. K.} C01 21 *<*6FINE SINGING IN HENZE OPERA*> C01 22 *<*2GLYNDEBOURNE *"CONTEMPORARY**"*> C01 23 *<*0From *6MARTIN COOPER*> C01 24 *<*2GLYNDEBOURNE, *0Thursday.*> C01 25 |^*4H*2ANS WERNER HENZE'S *0*"Elegy for Young Lovers**" is the C01 26 first unambiguously *"contemporary**" work to be admitted to the C01 27 Glyndebourne canon. C01 28 |^By no means a masterpiece, it is in many respects a C01 29 representative modern work and the composer is a highly skilled C01 30 manipulator of contemporary idioms, with a strong sense of words and C01 31 situation. C01 32 |^The libretto, by {0W. H.} Auden and Chester Kallman, is largely C01 33 a satire on the petty court surrounding an ageing poet, whose deeply C01 34 egocentric character leads him to sacrifice everything to his need of C01 35 inspiration. C01 36 |^Henze obtains his musical characterisation by means of individual C01 37 instrumental timbres and *"personal**" intervals, and the result is C01 38 often less delineation of character than caricature. ^This is also the C01 39 chief, or at least the most successfully executed trait of the C01 40 libretto, which contains an odd blend of highly poetic phraseology and C01 41 schoolboy humour. C01 42 *<*6MELODY LACKING*> C01 43 |^*0The composer has a happy gift for musical dialogue as well as C01 44 for the grotesque, but he is less successful in extended \6*1arioso C01 45 *0passages. ^The more serious scenes of the opera were in fact often C01 46 uninteresting owing to the absence of any memorable melodic invention, C01 47 but an exception was the Poet's moment of self-revelation in Act *=2, C01 48 which was excellently sung by Carlos Alexander. C01 49 |^The lovers, whose chief scene was cut at the last moment, had C01 50 comparatively little to sing, but Elisabeth So"derstro"m gave an C01 51 exquisitely touching performance and Andre*?2 Turp's ringing voice C01 52 contrasted well with the character-singing demanded of most of the C01 53 cast. C01 54 |^This was in every case excellent. ^Dorothy Dorow's visionary old C01 55 madwoman had considerable musical pathos, and Kerstin Meyer struck C01 56 exactly the right note of hysterical devotion as the Poet's spinster C01 57 secretary. C01 58 *<*6TOO ENTHUSIASTICALLY*> C01 59 |^*0Thomas Hemsley's performance as the Poet's private doctor was C01 60 dramatically shrewd and musically well conceived. C01 61 |^The Royal Philharmonic Orchestra under John Pritchard handled C01 62 Henze's chamber music style rather too enthusiastically at first, so C01 63 that the singer's words were largely obscured, and the composer's very C01 64 free use of the percussion made this a difficulty throughout. C01 65 |^Gu"nther Rennert's imaginative production cleverly conveyed the C01 66 crazy, precarious atmosphere of the Alpine inn inhabited by the Poet's C01 67 court, and his lighting of the later scenes suggested the ultimate C01 68 isolation in which the Poet finds himself. C01 69 *<*6A FASTIDIOUS COMPOSER*> C01 70 *<*2*'JOURNAL**' DEBUT AT CHELTENHAM*> C01 71 *<*4From *6DONALD MITCHELL*> C01 72 *<*2CHELTENHAM, *0Thursday.*> C01 73 |^*4I*2T *0was not long ago that Richard Rodney Bennett composed a C01 74 *"Calendar**" for chamber ensemble. ^Now he has written a *"Journal**" C01 75 for orchestra which was given its first performance in the Town Hall, C01 76 Cheltenham, to-night by the {0*2B.B.C.} *0Symphony Orchestra C01 77 conducted by Norman Del Mar. C01 78 |^This new work, cast in five short sections, confirms that \0Mr. C01 79 Bennett is one of the most musical of our younger composers. C01 80 |^He writes, one might say, extremely musical music, of which the C01 81 sound is fastidiously calculated and yet agreeably spontaneous and C01 82 imaginative. C01 83 |^He does not in this *"Journal**" write one note too many. ^One C01 84 wonders, rather, whether he has not written too few. ^Or, to state C01 85 one's doubt more plainly, one wonders whether the invention in this C01 86 new work is not a little wanting in substance. C01 87 *<*6SLENDER IDEAS*> C01 88 |^*0Brief ideas are welcome indeed if they compress a sizeable C01 89 thought. ^It struck me that \0Mr. Bennett's ideas in this piece were C01 90 not so much succinct as slender. C01 91 |^Perhaps it was for this reason that the work seemed somewhat pale C01 92 in character, a criticism that certainly cannot be made of Berg's very C01 93 rarely heard Three Orchestral Pieces, \0Op. 6 each bar of which, even C01 94 the most derivative, is impregnated with the composer's personality. C01 95 |^The cruel acoustics of the hall played havoc with textures which C01 96 are unusually hectic and congested, but \0Mr. Del Mar's heroic labours C01 97 conveyed a clear impression of the succession of catastrophes which C01 98 seems to be the work's natural mode of expression. C01 99 |^There is undeniably something grand about the way Berg throws so C01 100 many broken eggs into one basket. ^But one is not entirely convinced C01 101 that a relaxation of tension might not have secured a more balanced C01 102 and varied work of art. C01 103 *<*7ANGLO-CHINESE PICARESQUE*> C01 104 *<*5By *7ROLLA ROUSE*> C01 105 *<*5The Chinese Bigamy of \0Mr. David Winterlea: a Manchu-Edwardian C01 106 Fantasy. *4Translated from the Chinese by Henry McAleavy. (Allen & C01 107 Unwin. 21\0s.)*> C01 108 |^T*2HE *0basis of *4*"The Chinese Bigamy *0of *4\0Mr. David C01 109 Winterlea,**" *0explains Henry McAleavy, was found among the C01 110 single-sheet *"mosquito-newspapers,**" full of *"an assortment of C01 111 anecdotes, topical items, and serial stories,**" started in about 1870 C01 112 by Wang T'ao, assistant to the famous sinologue \0Dr. Legge. C01 113 |^\0Mr. McAleavy's version of this *"Manchu-Edwardian fantasy**" C01 114 is, however, so free that to anybody who knows China and the Chinese C01 115 nothing of a Chinese flavour remains. ^What the various characters say C01 116 and do often seems utterly alien to China. C01 117 |^For example, we are shown a Chinese host placing his principal C01 118 guest from the Foreign Office in the lowest seat at dinner, accusing C01 119 him of being homosexual, and generally behaving as no educated Chinese C01 120 ever could behave. ^Again, the Chinese, whether drunk or sober, never C01 121 kiss in public, and least of all would a Chinese monk meeting an C01 122 Englishman for the first time kiss him. C01 123 |^The period covered by the tale runs from about 1850 to 1913: and C01 124 all the characters have one thing in common, their coarse behaviour C01 125 and abnormal appetites. ^While there is a story meandering through the C01 126 book, the main object of many chapters is to record some improbable C01 127 and unpleasant anecdote. C01 128 *<*5\Amahs into Ladies*> C01 129 |^*0The hero, if such \0Mr. David Winterlea can be called, tries to C01 130 turn two Cantonese sisters from *1\amahs *0into ladies and teach them C01 131 English: and they on their side plan to marry him jointly and finally C01 132 to reside, not in unfashionable Kowloon, but in snobbish Hongkong, C01 133 where he *"would have a position to keep up.**" C01 134 |^The main incidents occur on a country estate near London, owned C01 135 by the Chinese Legation and used by the staff, Chinese and foreign, to C01 136 amuse themselves, mainly at night. C01 137 *<*6BYRON'S VEXED REPUTE*> C01 138 *<*0By *2MARGARET LANE*> C01 139 *<*5The Late Lord Byron. *4By Doris Langley Moore. (Murray. 2\0gns.)*> C01 140 |^N*2EVER *0has a greater coil been made about any man than about C01 141 Byron. ^He sowed passions, jealousies, loyalties, scandals, C01 142 animosities and treacheries as effortlessly as some far worthier C01 143 characters scatter boredom. C01 144 |^The tumult is by no means over, and this being a biographical age C01 145 and Byron a magnificent documenter of his own life, he has reached the C01 146 stage (I cannot remember any other great literary figure doing so) C01 147 when a monumental work can be written on the dramas that seethed and C01 148 simmered *1after *0his death, taking off from the point at which the C01 149 reader is accustomed to close a poet's biography. C01 150 |^Is it really worth while*- one is bound to ask the question C01 151 sooner or later*- to devote years of research and over 500 closely C01 152 printed pages to disentangling the labyrinthine quarrels, blackmails, C01 153 machinations and correspondences which raged for so many years over C01 154 Byron's grave? ^The answer is, on one condition, that it is; the C01 155 condition being that one should have an appetite for detail and for C01 156 knowing as much as possible about one of the most dynamic geniuses who C01 157 ever lived. C01 158 *<*4Leisured Mischief-Makers*> C01 159 |^*0The evil that Byron did certainly lived after him, and was even C01 160 outmatched by the mischief perpetrated by almost every person who had C01 161 been close to him. ^In turning over the bones Doris Langley Moore has C01 162 brought to light a great deal of discreditable behaviour and a vision C01 163 of mischief-making propensities of the leisured classes in the early C01 164 19th century which leaves one a little breathless. C01 165 |^No previous Byron biographer, I fancy (and they have been many) C01 166 has had access at the same time to so many important manuscript C01 167 sources. ^The late Lady Wentworth, Byron's great-granddaughter, opened C01 168 the whole of the Lovelace Papers to \0Mrs. Moore in 1957; she was able C01 169 to continue her work on them for more than a year after Lady C01 170 Wentworth's death. C01 171 |^These papers, the contents of several trunks, are the accumulated C01 172 letters and personal documents left by Lady Byron, who never recovered C01 173 from the shock of her brief marriage with the poet, and dedicated the C01 174 rest of her life (she was 23 when they parted) to self-justification C01 175 and resentment. C01 176 |^Would that Byron's Memoirs had also survived! ^How the ghost of C01 177 the first John Murray must moan in his Albemarle Street vaults to C01 178 think how self-righteously, urged and abetted by Byron's lifelong C01 179 friend, John Cam Hobhouse, he burned them there in the fireplace, C01 180 condemning the work unread, as Tom Moore said, *"and without opening C01 181 it, as if it were a pest bag!**" C01 182 |^Byron's marriage, the reasons (real enough though embroidered C01 183 later) for Lady Byron's leaving him, the scandal of his love affair C01 184 with his half-sister, Augusta Leigh, the question of the paternity of C01 185 Medora Leigh her daughter, the long inquisitorial persecution of C01 186 Augusta by Lady Byron (who seems to have been as neurotic as the most C01 187 ghoulish novelist could wish), the patient ferreting for evidence to C01 188 add homosexuality to incest as an extra nail in his coffin, the C01 189 unspeakable treacheries of Lady Caroline Lamb, the scarcely less C01 190 heinous treacheries of Augusta*- it is the Lovelace Papers, surely, C01 191 that deserve to be called a *"pest bag**", not Byron's consumed C01 192 Memoirs, which at least would have possessed the merit of being well C01 193 and entertainingly written. C01 194 |^Equally important have been the Hobhouse Journals, a vast mass of C01 195 material partly in the British Museum, partly in the possession of the C01 196 Hobhouse family in Somerset. ^Hobhouse, later Lord Broughton, was C01 197 Byron's intimate (if a little stuffy and unimaginative) friend from C01 198 their Cambridge days, who had travelled widely with him, been C01 199 fascinated by him to a point that looks like love, had fanned the C01 200 enthusiasm which had sent Byron finally to Greece, and suffered years C01 201 of loyal exasperation as Byron's executor. C01 202 *<*4Sturdy Friends*> C01 203 |^*0Byron as a man is seen at his best in relation to such sturdy C01 204 male friends. ^He brought out the worst in women, as they certainly C01 205 brought it out in him. ^There is scarcely a woman in his life besides C01 206 Teresa Guiccioli, last and most reasonable love, who does not affect C01 207 the modern reader with nausea. C01 208 |^The Countess Guiccioli was by birth a Gamba; her brother Pietro C01 209 accompanied Byron to Greece, shared the misery and ruinous C01 210 frustrations of the campaign, and was with him when he died. ^The C01 211 Gamba Papers in Ravenna have shed some valuable light on this last C01 212 phase, wholesomely contradicting the lies of that strangely theatrical C01 213 blackguard, Edward Trelawney, who played a highly discreditable part C01 214 in the Greek campaign himself, and wished, as did many others, to make C01 215 capital out of his association with Byron. C01 216 *<*4A Modern Voice*> C01 217 |^*0Few people come out of this detailed {6post-mortem} with much C01 218 credit. ^Hobhouse certainly, though one respects him more than one C01 219 likes him, Byron himself, who, whenever his voice is heard above the C01 220 banshee wail (Augusta, Caroline Lamb, Lady Byron keeping in chorus) C01 221 surprises one by his tone of humanity, of common sense, of candour: a C01 222 startlingly modern voice. ^Lady Byron *1most *0dislikeable, Augusta a C01 223 shifty fool and not altogether a nice one, Lady Caroline Lamb a bitch C01 224 goddess in an age which (thanks to plentiful domestic service and C01 225 gracious living) was notably rich both in goddesses and bitches. C01 226 *# 2027 C02 1 **[073 TEXT C02**] C02 2 *<*4Masterpiece of horror*> C02 3 **[EDITORIAL**] C02 4 |^*4A*2FTER *0ten days of intermittent, near fatal ennui, the C02 5 eleventh Berlin International Film Festival was suddenly jolted back C02 6 to life by two extraordinary films, Bernhard Wicki's *"{Das Wunder C02 7 des Malachias}**" (*"The Miracle of Father Malachias**") and C02 8 Michaelangelo Antonioni's *"{La Notte}.**" C02 9 |^The number of German film directors who have made first rate C02 10 works in the last 25 years can be counted on the fingers of one hand: C02 11 Frank Wysbar (*"{Fa"hrmann Maria}**"), Helmut Ka"utner (*"{Die C02 12 Grosse Freiheit \0No. 7}**"), Herbert Selpin (*"Titanic**"), Wolfgang C02 13 Staudte (*"Rotation**"), and Georg Klaren (*"Wozzeck**"). ^It would C02 14 now seem that Wicki's name must be added to this list, for his new C02 15 film may well be a landmark in the revitalisation of the German C02 16 cinema. C02 17 |^Wicki is not only a director. ^He began his career as an actor, C02 18 had his first important film ro*?5le in Ka"utner's *"{Die letzt C02 19 Bru"cke},**" and he also appears in the new Antonioni film. ^In 1950 C02 20 he began to take photographs not only in Germany but also in Africa C02 21 and America. ^An exhibition of these works which is now on view in a C02 22 Berlin gallery is most impressive. ^As Friedrich Du"rrenmatt, the C02 23 Swiss playwright and author, wrote: ^*"Wicki's blacks and greys are C02 24 not only the colours of the lost and the forgotten, but they are also C02 25 the technical means of abstraction. ^Every unnecessary detail, all C02 26 superfluous local colouring must be eliminated. ^He does not want the C02 27 accuracy of a police photograph, but rather he wants to show the C02 28 eternal in every instant.**" C02 29 |^The chilling horror of *"Malachias**" is due as much to Wicki the C02 30 photographer as to Wicki the director. ^His earlier film, *"{Die C02 31 Bru"cke},**" was equally terrifying, but here the director moves out C02 32 of the world of reality into an icy supernatural vacuum where the sun C02 33 never shines. ^Following Bruce Marshall's original novel with C02 34 considerable fidelity, the film tells the story of a little monk who C02 35 prays that a disreputable night club near his church be removed. ^One C02 36 night his prayer is answered and the offending establishment is C02 37 suddenly transplanted to an island in the North Sea. C02 38 |^But Father Malachias's troubles have only begun. ^Instead of C02 39 having the desired effect, the miracle becomes exploited by a group of C02 40 shrewd newspapermen. ^Soon a carnival springs up on the sight of the C02 41 missing building. ^The Church rebukes the poor monk for his miracle, C02 42 and as a crowning indignity the night club is given a gala society C02 43 reopening on the island. ^Father Malachias goes to the island, prays, C02 44 and in a second miracle the night club is replaced in its original C02 45 setting. C02 46 |^A summary of the story can give almost no indication of the scope C02 47 of Wicki's artistry. ^He tells his story best in the faces of his C02 48 crowds, recording every wrinkle and drop of sweat with brutal honesty, C02 49 building up to a tremendous climax in the island orgy. ^Here, the C02 50 guests arrive in ghost-like yachts, the wildly flapping white sails C02 51 slashed by the glaring beacon of a lighthouse. ^When the final miracle C02 52 does occur, it is accepted as a marvellous joke; no one has learned C02 53 anything. ^Wicki suddenly returns to the city for a final epilogue. C02 54 ^In complete silence he shows the faces of people walking in the C02 55 streets, smug, content, satisfied, and thoroughly frightening. C02 56 |^Wicki has succeeded in his second film in recording his personal C02 57 apocalypse of the last days of a sick society. ^It is most unfair to C02 58 call *"Malachias**" a cut-rate *"{Dolce Vita},**" for it is far more C02 59 intimate and deeply felt. ^In 1944 Herbert Selpin tried a similar feat C02 60 in *"Titanic**" by paralleling the last days of the Third Reich with C02 61 the sinking of the great ocean liner, and paid for his audacity with C02 62 his life. ^To judge from the press, Wicki is to pay by being C02 63 journalistically crucified in his own country. ^Certainly there are C02 64 things wrong with the film, but the print arrived from the cutting C02 65 room only a few hours before its showing and could not be considered C02 66 in finished state. ^One can only hope that British audiences will have C02 67 a chance to judge this powerful creation for themselves in the near C02 68 future; *"{Die Bru"cke}**" is still waiting two years after its C02 69 German premie*?3re. C02 70 |^*"{La Notte}**" will be shortly shown in London and for that C02 71 reason deserves shorter mention here. ^Those who feared that Antonioni C02 72 could never follow *"{L'Avventura}**" with another masterpiece can C02 73 rest easy; he has done the near impossible and turned out what C02 74 certainly must be one of the greatest studies of the renewal of love C02 75 that the screen has ever seen. ^Less obviously complex than his last C02 76 film, *"{La Notte}**" will undoubtedly have more popular appeal, but C02 77 this is in no way a reflection on its seriousness. ^His method of C02 78 painting with the camera has never been more exciting, exchanging the C02 79 rocks of Sicily for the skyscrapers of Milan. ^But his society is the C02 80 same, now even clearer, but touched with a melancholy compassion which C02 81 is a strong sign of the maturity of his ultimate artistic vision. C02 82 |^Strangely enough, the Berlin audience received the film with C02 83 extreme coolness, much preferring Jean-Luc Godard's disappointing C02 84 *"{Une Femme est une Femme},**" a ninety-one minute hymn to C02 85 *"Vogue,**" *"{Cahiers du Cinema},**" and the worst aspects of the C02 86 American cinema. ^From a brilliantly funny start, the work fizzles out C02 87 into a series of repetitious sight-gags and personal jokes C02 88 incomprehensible to the uninitiated (including four plugs for Charles C02 89 Aznavour). ^Certainly one had the right to expect better. ^The other C02 90 French entry, Michel Drach's *"{Ame*?2lie, ou de Temps d'Aimer},**" C02 91 was late nineteenth-century French opera at its most beautiful, subtly C02 92 romantic with a twilight melancholy which lifted an involved story to C02 93 real heights. C02 94 |^As a refuge from the welter of mediocre features, the C02 95 retrospective shows are always of great interest, particularly the C02 96 programmes devoted to the works of Richard Oswald. ^This director is C02 97 at last being re-evaluated and given his proper place in the history C02 98 of the German film. ^Most charming was his tongue-in-cheek C02 99 *"{Unheimliche Geschichten}**" (1920), five ghost stories with a C02 100 light touch, and there was much to admire in *"Dreyfus**" (1930) and C02 101 the virtually unknown but extremely important *"1914**" (1931), which C02 102 tries to show that it took more than just Germany to start the First C02 103 World War. C02 104 |^Prizes being what they are, Berlin is unusually generous in C02 105 giving everyone something, and silver bears are awarded in every C02 106 direction. ^Both the Antonioni and Wicki films took high honours, and C02 107 the audience at the awards was particularly enthusiastic when one Miss C02 108 Anna Kerima was selected as best actress for her work in the Godard C02 109 film. ^Gifted with an interesting face, although little acting C02 110 ability, she would seem to be well worth watching in the months to C02 111 come. C02 112 *<*6NEW FILMS*> C02 113 *<*4by Isabel Quigly*> C02 114 |^*4F*2OR *0once a cinema's advertisement does not exaggerate. ^The C02 115 Academy advertises Jean-Luc Godard's {*4A bout de Souffle*?2} C02 116 *0(translated as *4Breathless, *0X certificate) as *"the most eagerly C02 117 awaited new film of the {6nouvelle vague},**" and although *"new**" C02 118 is hardly accurate (the film is two years old and one of those that C02 119 gave the new wave its original impetus and excitement), certainly the C02 120 film that *"Sight and Sound**" called *"the group's intellectual C02 121 manifesto**" is one that anyone with an interest in what the cinema is C02 122 up to has been waiting to see. ^Few films have been so widely C02 123 discussed before their public showing; and, as it turns out, few can C02 124 ever have seemed such obvious prototypes, or have embodied so many C02 125 attitudes and techniques that have since been imitated, exaggerated, C02 126 caricatured, and (therefore) weakened, even made absurd. C02 127 |^It is disappointing though perhaps inevitable that the young C02 128 directors of the new wave made their best films at the beginning, and C02 129 in most cases, far from going from strength to strength, have since C02 130 either repeated themselves or deteriorated or (generally) both; for C02 131 their great limitation is the lack, once they have made their original C02 132 point and asserted their independence of what went before them, of C02 133 anything much to say, and the fact that the world they deal with, C02 134 though at first it may look excitingly emancipated, is in fact as C02 135 restricted as that of drawing-room comedy. ^Its centre of gravity is C02 136 Paris, its inhabitants young people*- students, spivs, petty crooks, C02 137 layabouts of every kind*- all with a uniform sort (and style) of C02 138 sexual promiscuity and social aimlessness. C02 139 | C02 140 |^*4H*2ERE *0in London in 1961, we are seeing *"{A bout de C02 141 Souffle*?2}**" too late, of course, to feel its original impact, or C02 142 even its originality very forcefully: but even a short time ago it C02 143 must have seemed excitingly new, even revolutionary, one of the films C02 144 that, sick of the old guard's deadness, stageyness, and sheer lack of C02 145 film sense, started what was then an anti-cliche*?2 movement, a new C02 146 way of looking at the world. ^But there is a gloomy truth in the old C02 147 saws about revolutionaries turning into conservatives overnight: it is C02 148 not that they are bribed or bludgeoned by the establishment, but that C02 149 they turn into an establishment of their own. ^In no time at all their C02 150 very revolutionary qualities are copied, and appear quite dismally C02 151 hackneyed: what was once fresh and surprising becomes tricksy and C02 152 affected, and by now, in the case of the new wave, the movement is so C02 153 barnacled with its own cliche*?2s that it is hard to remember the C02 154 high*- inordinately high*- hopes it began with. C02 155 |^Certainly *"{A bout de Souffle*?2}**" (which is almost a group C02 156 achievement: Godard directed, but Truffaut*- *"{Les 400 coups},**" C02 157 *"Shoot the pianist**"*- wrote the script and Chabrol*- *"The C02 158 cousins,**" *"{Les bonnes femmes}**"*- was technical supervisor) is C02 159 extremely exciting, especially if you can forget what has come since. C02 160 ^It has now the familiar ingredients*- a nihilistic attitude to C02 161 everything, wry, built-in jokes, a murderer-thief hero*- but it has, C02 162 too, a startling freshness of style, a really surprising and C02 163 illuminating way of looking at objects, faces, people as they talk and C02 164 feel, conversations as they perform (or don't manage to perform) their C02 165 function of bringing people closer. ^It has a great look of speed and C02 166 technical fun about it, of enormous cinematic enjoyment, and above all C02 167 of cinematic sense. ^Much of it has that air of improvisation, as of C02 168 off-the-cuff living, that once seemed so new and so attractive. ^The C02 169 story (not that the story, in the sense of plot, matters much; but in C02 170 the sense of situation and movement it matters a lot) is that of a man C02 171 on the run (Jean-Paul Belmondo), who spends a few days with an C02 172 American girl (Jean Seberg) who is bearing his child (though paternity C02 173 is always a rather dubious business among the new wave): an affair C02 174 that remains spiritually unconsummated as they move on to the final C02 175 betrayal. C02 176 | C02 177 |^*4B*2ELMONDO *0reappears at the Paris Pullman in {*4Moderato C02 178 Cantabile} *0(curiously translated into *4Seven Days... Seven Nights C02 179 ... *0A certificate), Peter Brook's film made in France and shown last C02 180 autumn at the London Film Festival. ^In spite of magnificent C02 181 performances from him and from Jeanne Moreau, this has been fairly C02 182 well trounced by the critics wherever it has appeared. ^Leisurely, C02 183 even slow, rhythmically repetitive, the mysteriously simple story C02 184 takes place on the banks of the Garonne, which becomes an C02 185 unforgettable image. ^This is a very individual film, mannered, C02 186 subtle, literary, made by a man who is not necessarily a film-maker, C02 187 without the exclusively, ferociously cinematic eye of, say, Godard or C02 188 Truffaut; but, to me at least, strangely satisfying and memorable. C02 189 |^And for those who complain that Hollywood has grown too C02 190 sophisticated to turn out anything really amusingly bad these days, C02 191 anything like the old riproaring nonsenses in which Joan Crawford or C02 192 Lana Turner broke their hearts in black velvet and mink, there is C02 193 *4Parrish *0(director: Delmer Daves, A certificate: Warner), a C02 194 concoction as absurd as you could hope for, and a parody of every C02 195 family saga and regional-folksy film from giant downwards. ^With a C02 196 large blond youth of quite dazzling dumbness called Troy Donahue; and C02 197 Claudette Colbert, still charming amid the nonsense, and Karl Malden C02 198 not knowing how to take it, all rolling eyeballs like a villain from C02 199 East Lynne. C02 200 *# 2006 C03 1 **[074 TEXT C03**] C03 2 *<*4Film Virtues in A Taste of Honey*> C03 3 *<\0Mr. Richardson's Skilful Direction*> C03 4 |^*0The film version of Miss Shelagh Delaney's play *1A Taste of C03 5 Honey *0opens at the Leicester Square Theatre tomorrow. ^It has been C03 6 produced and directed by \0Mr. Tony Richardson, who is also C03 7 part-author with Miss Delaney of the script, and the great advantages C03 8 to be derived from this unity of conception and control are everywhere C03 9 apparent. C03 10 |^This is not a filmed play. ^It has been conceived throughout in C03 11 terms of the cinema, and again and again it is the visual qualities of C03 12 the story, and the marriage of the central characters to their C03 13 background, which bring the film so vividly to life. C03 14 |^In *1Fanny, *0which also has its premiere tomorrow, the director, C03 15 \0Mr. Joshua Logan, attempted but failed to create the atmosphere of a C03 16 city. ^In *1A Taste of Honey *0\0Mr. Richardson has taken a town in C03 17 the industrial North of England and has made it live. ^The shabby C03 18 streets and wet pavements, the school play-grounds, the public C03 19 monuments and the rubbish strewn canals*- even the worn head-stones in C03 20 the churchyard, *"sacred to the memory of**"*- are seen as an integral C03 21 part of the story. ^The background is always alive and always C03 22 changing; but the visual image is in keeping with the spoken word. ^We C03 23 accept implicitly that these characters have grown naturally and C03 24 inevitably from out of these surroundings. C03 25 |^Against this industrial setting \0Mr. Richardson has told Miss C03 26 Delaney's story. ^Its faults are still apparent. ^The plot is still C03 27 shapeless and inconclusive*- indeed it is little more than an anecdote C03 28 of city life, with a beginning but no end*- and the characters often C03 29 seem to lack consistency. ^But there is heart in the telling, and an C03 30 intense realism in the situation. C03 31 |^A young girl lives in a single dingy room with her slatternly, C03 32 promiscuous mother. ^In such surroundings she learns sex is something C03 33 sordid, and when she experiences it for the first time herself it is C03 34 incoherently, clumsily, but half shyly and half inquisitively. ^As is C03 35 the case in *1Fanny *0her first lover is a sailor who leaves her to C03 36 bear his child and sails away. ^In *1Fanny *0the pregnant girl is C03 37 befriended by an old man. ^Here it is a young homosexual, estranged C03 38 from women but yet moved by a strong maternal instinct to the unborn C03 39 child as much as to the expectant mother, who acts as a protector and C03 40 comforter to her in her hour of need. ^He shares her room and gives C03 41 her his forlorn gift of companionship and sympathy*- *"you need C03 42 someone to love you while you are looking for someone to love**". C03 43 |^Miss Dora Bryan plays the mother as a flamboyant, down-to-earth C03 44 sensualist who lacks perception but is not altogether without heart. C03 45 ^\0Mr. Murray Melvin is the homosexual, his long lugubrious face C03 46 reflecting a hidden and unexpressed compassion. C03 47 |^Miss Rita Tushingham is the girl. ^It is always difficult when C03 48 assessing a moving and eloquent performance by a young and immature C03 49 screen actress to judge the extent to which her acting has been C03 50 inspired by skilled and sensitive direction. ^\0Mr. Richardson has C03 51 left his stamp so clearly on the rest of this film that some credit C03 52 must be given to him; but here is undeniably a performance of C03 53 surprising range and deep emotion, reflected in the face of an C03 54 ordinary schoolgirl that is seemingly without make-up but is C03 55 illuminated by a wonderful pair of eyes. C03 56 |^It is \0Mr. Richardson's great gift that he can show a face in C03 57 close-up and reveal the thoughts of the mind without a word being C03 58 spoken. ^This he does repeatedly in this film, especially with Miss C03 59 Tushingham. C03 60 *<*2CONCERTOS ENLIVEN PROGRAMME*> C03 61 |^*0Apart from Tchaikovsky's *1Romeo and Juliet *0fantasy overture, C03 62 last night's Prom was entirely devoted to twentieth-century music, C03 63 with two piano concertos by Alan Rawsthorne and Prokofiev (each C03 64 composer's \0No. 1 in the medium) to enliven both halves of the C03 65 programme. C03 66 |^The two works are true bravura concertos lying within the grasp C03 67 only of players of virtuoso technique; they are alike, too, in placing C03 68 far more emphasis on crisply sparkling extravert brilliance than on C03 69 inwardness of feeling though admittedly Rawsthorne briefly becomes C03 70 more searching in his beautiful central chaconne. ^The soloist, Miss C03 71 Moura Lympany, could not have been better chosen, for she has the C03 72 clear-cut agility and vivacity of musicianship necessary for this kind C03 73 of music, and temperamentally does not suffer from any temptation to C03 74 delve more deeply into the notes than they warrant. C03 75 |^On their own, the {0B.B.C.} Symphony Orchestra and Sir Malcolm C03 76 Sargent went to the rescue of *"Pohjola's Daughter**", one of C03 77 Sibelius's offspring now very much on the shelf. ^This is vividly C03 78 scored but essentially naive programme music, perhaps more likely to C03 79 appeal on home ground where the *1Kalevala *0is as real as the Bible. C03 80 |^Sir Malcolm Sargent and the orchestra made every point with C03 81 graphic clarity, and almost the same was true of Vaughan Williams's C03 82 sixth symphony, which stood as the centrepiece of the programme. ^The C03 83 exception was the finale of the symphony, which was played just a C03 84 shade too fast and not quite insubstantially enough to convey the C03 85 full, hollow horror of its implications*- the globe's vast desolation C03 86 after the extinction of all human life. C03 87 *<*4Miss Dodie Smith Provides for Kitchen Sink*> C03 88 *<*2FROM OUR SPECIAL CORRESPONDENT*> C03 89 * C03 90 |^*0In her latest play, launched here last night, Miss Dodie Smith, C03 91 accepting the challenge of the times, has made room for a kitchen C03 92 sink. ^Its presence does nothing to sour these new arrivals among the C03 93 author's brood of brain children. ^Or should one call them heart C03 94 children? ^All their hearts are in the right place, and they run true C03 95 and sweet to family form. C03 96 |^There is even an older and more formidable challenge than the C03 97 sink itself to test their fundamental niceness, for this basement C03 98 kitchen of an old house in a London square is also the dining room of C03 99 a boarding establishment run by an amiable and fluttery spinster. ^All C03 100 her guests, whatever their age, lend a hand with the washing up (which C03 101 is frequent) with almost as much enjoyment as if at last some C03 102 miraculous detergent were being advertised in the live theatre. C03 103 |^No one is cantankerous, there are no petty jealousies or mutual C03 104 animosities. ^Who but Miss Dodie Smith would have thought boarding C03 105 house comedy could be written without them? C03 106 |^This boarding house has a pronounced list to stageward. ^It C03 107 accommodates young members of the profession and also a middle-aged C03 108 actor manque*?2 who has been out of touch with the world for 20 years C03 109 and is at first suspected of having been serving a prison sentence. C03 110 |^Actually he has been caring for his invalid but equally C03 111 histrionic wife who has died and left him free to fulfil, with her C03 112 blessing, his long thwarted ambition. ^When he has been gently C03 113 de-hammed for the modern stage by a young actress who is his C03 114 fellow-lodger he does land a contract. ^In the meanwhile we watch him C03 115 perform marvels of cooking and, generally at the same time, listen to C03 116 him delivering the most purple and familiar patches of Shakespeare. C03 117 |^There are a pair of pathetic fuddy-duddies who have parted with C03 118 their house because they have had *"a good offer**" for it, and a C03 119 hypochondriacal old bachelor who proposes to the gentle proprietress, C03 120 but is not accepted until she has made the surprising confession that C03 121 she, unlike her once suspected guest, has really been to prison. C03 122 |^This is Miss Smith's highest flight of imagination; the offence C03 123 was the absentminded theft of a library book for which in her youth C03 124 the otherwise innocent Miss Edie got 14 days without the option. ^The C03 125 inclusion of a titled *"char**" on the establishment is perhaps the C03 126 most deliberately modern touch. C03 127 |^Miss Jennifer Stirling plays Miss Edie with great skill and charm C03 128 and \0Mr. Willard Stoker effectively coordinates a good cast. C03 129 *<*4Rare Acting in Betti Play*> C03 130 * C03 131 * C03 132 **[LIST**] C03 133 *<*0Directed by *2BRYAN STONEHOUSE*> C03 134 * C03 135 * C03 136 |^*1Irene *0is not perhaps one of Betti's masterpieces, but it is a C03 137 splendidly efficient play, constructed with sure instinct for C03 138 theatrical effect which never seemed to let this dramatist down. C03 139 |^The background is that rough, raw, savage land of southern Italy C03 140 which Betti explored in a number of plays. ^Here it is combined with C03 141 another theme dear to his heart, the workings of justice. ^A nice, C03 142 simple sergeant of the Carabinieri arrives in a strange village at C03 143 night to investigate some irregularities concerning the town clerk. C03 144 ^By chance he lights first of all upon the clerk's house, stays there C03 145 for the night and becomes disturbingly involved with the clerk, his C03 146 faded, pretentious wife and, particularly, his beautiful crippled C03 147 daughter, Irene. C03 148 |^The next morning he hears the evidence against his erstwhile C03 149 host, and learns of the bitter enmity in which the mayor and the rest C03 150 hold him. ^Where does the truth lie? ^How far can the sergeant, caught C03 151 between his feelings for Irene and her family on the one hand and the C03 152 evidence and the veiled blackmail of the mayor on the other reach a C03 153 fair and unbiased decision? C03 154 |^Especially when he learns that the girl, whom he believed pure C03 155 and innocent, is in fact the local prostitute. ^Despite this she still C03 156 retains a strange innocence, somewhere between that of the idiot and C03 157 that of the saint, which sets up violent and contradictory emotions in C03 158 those who visit her as well as in the sergeant: they want her to go C03 159 and yet they want her to stay; he does not know until almost too late C03 160 whether he loves her or loathes her. C03 161 |^Arguably, the dramatist has committed a technical error in C03 162 allowing Irene to speak for herself; we would be altogether clearer in C03 163 our minds about her if she remained a flawed but beautiful enigma, C03 164 seen but not heard. ^However, Miss Pinkie Johnstone makes her few C03 165 brief scenes effective, and \0Mr. Dinsdale Landen, in the longest and C03 166 most exacting role, that of the sergeant, gives a performance of rare C03 167 intelligence and restrained power. ^\0Mr. Bryan Stonehouse's C03 168 production is quietly effective, giving full value to the formal C03 169 elements of Betti's writing without over-emphasizing them. C03 170 *<*2A MORALITY PLAY ON AMBITION*> C03 171 |^*0Last night's play in the *"Play of the Week**" series on C03 172 independent television, *1Then We Fall, *0by \0Mr. Paul Ferris, was a C03 173 morality on the not unfamiliar theme of the destructive power of C03 174 unbridled ambition. ^It went, perhaps, some distance beyond most C03 175 treatments of its subject by attempting to generate a melodramatic C03 176 inevitability which left its central character and the world around C03 177 him in complete, unredeemable desolation. C03 178 |^We could, perhaps, say whether or not the attempt succeeded if we C03 179 had a little more faith in the way in which \0Mr. Ferris manipulated C03 180 his characters. ^Mervyn Morris abandons his job as a pilot in a Welsh C03 181 seaport, finds a position with the local paper, treads underfoot C03 182 everyone, especially his wife, with whom he deals: his wife leaves him C03 183 for the paper's shy, gentle editor. ^At which he prevails upon his C03 184 father-in-law, a miserly, fanatical Welsh nationalist, to murder the C03 185 editor for him. ^No suspicions are aroused but no problems are solved C03 186 for he loses his job because, at the moment of the murder, he is C03 187 standing in front of television cameras and, with his nerves on edge, C03 188 talking tactlessly. C03 189 |^\0Mr. William Lucas (Morris) is always insensitively pushing, C03 190 Miss Sheila Allen his wife, always palely appealing, \0Mr. James C03 191 Maxwell, the editor, always comically abashed by the events, and \0Mr. C03 192 Aubrey Richards, the father-in-law, always comically grotesque; they C03 193 were not asked to modulate from their set moods but played with proper C03 194 efficiency and, in the case of \0Mr. Richards, with lavish and C03 195 suitably gaudy colour. ^Only \0Mr. Lucas's actions, therefore, arose C03 196 explicably from appreciable motives. ^The rest, one feels, were driven C03 197 to effective action by the author in spite of the ineffectuality with C03 198 which he had endowed them. ^One hopes that he is not asking us to C03 199 believe that, because of their odd accents, they act oddly like the C03 200 queer foreigners of tradition. C03 201 *# 2008 C04 1 **[075 TEXT C04**] C04 2 *<*6FRANKLY, IT'S NOT FOR FRANKIE...*> C04 3 |^NEXT *4month that friendly, effervescent performer Frankie C04 4 Vaughan will burst on to the London Palladium stage in a new show. C04 5 |^*0To paraphrase his well-known ditty: ^*"He'll have the C04 6 limelight, they'll give him the girls*- and leave the rest to him.**" C04 7 |^I have a hunch that he will feel more at home in the old, C04 8 star-studded West End than he will ever feel in Hollywood. C04 9 |^*4His American bosses, 20th-Century Fox, have recently given C04 10 Frankie the full, razzamataz, red-carpet treatment. C04 11 |^*0But they haven't done a thing for his film career that Anna C04 12 Neagle and Herbert Wilcox were not doing better here, before the C04 13 platinum-plated Hollywood carrot was dangled before his nose. C04 14 |^In his first Hollywood picture, *"Let's Make Love,**" he was C04 15 swamped by the know-how of Marilyn Monroe and Yves Montand. ^Against C04 16 this couple Frankie, in a cardboard role, didn't stand a chance. C04 17 |^Now comes *4*"The Right Approach**" *0(Rialto, *"A**"), and it's C04 18 a glum business. C04 19 |^He plays an aspiring actor*- a selfish, arrogant, brash, C04 20 ambitious, unscrupulous heel*- who would tread on anybody's neck to C04 21 get a break in the Hollywood ratrace. C04 22 *<*5Cynical*> C04 23 |^*0He double-crosses the five pals with whom he lives, cheats a C04 24 waitress (Juliet Prowse) and cynically uses a magazine editress C04 25 (Martha Hyer) to get ahead. C04 26 |^*4Frankie Vaughan is too nice a chap to ring quite true as a C04 27 smooth-tongued, ill-mannered Yank. C04 28 |^*0His best moments are when he swings breezily into the title C04 29 song. ^But 6,000 miles seems a heck of a way to go for a new hit song. C04 30 |^He might be well advised to think hard and long before his next C04 31 jump into the Hollywood arena. C04 32 |^*6VERDICT: ^*4Vaughan should have by-passed this approach. C04 33 | C04 34 |^R*2ONALD *0Lewis has just left for his first taste of the C04 35 Hollywood treatment, thanks to a sound performance in *4*"Taste of C04 36 Fear**" *0(Warner Theatre, *"X**"). C04 37 |^*4He has earned his break. C04 38 |^*0The film is a well-made variation on that sinister yarn in C04 39 which half the cast try to persuade the heroine that she is out of her C04 40 mind. C04 41 |^Despite flagrant cheating the eerie atmosphere is built up C04 42 neatly. C04 43 |^*4Susan Strasberg is the crippled damsel in distress. C04 44 |^*0Stepmother Ann Todd and doctor Christopher Lee are also C04 45 effectively around. C04 46 |^They provide some chilly red herrings in this *"Find-the-body**" C04 47 thriller. C04 48 |^*6VERDICT: ^*4Don't believe all you see and hear! C04 49 | C04 50 |^N*2OT *0for the first time the homely mug of Sidney James has C04 51 pumped life into a slim, strained comedy. C04 52 |^He does his rescue act in *4*"Double Bunk**" *0(Leicester-square C04 53 Theatre, *"A**"). C04 54 *<*5Strength*> C04 55 |^*0Navigator Sid is a tower of strength when newly-weds Ian C04 56 Carmichael and Janette Scott let loose their ancient houseboat on a C04 57 honeymoon trip down the river. C04 58 |^The film starts off brightly enough but, half-way through, the C04 59 plot (as well as the boat) springs a near-disastrous leak. C04 60 |^Familiar members of Britain's repertory team of comedy C04 61 character-actors jump through equally familiar hoops to mild laughter. C04 62 |^*6VERDICT: ^*4The *"bunk**" needed doubling. C04 63 *<*7DONALD *'TAKES**' THE EVENING*> C04 64 * C04 65 *<*4by *6CLIFFORD DAVIS*> C04 66 |^*6DONALD HOUSTON *4had a big success on {0A T V}'s *"Drama C04 67 '61**" last night as a smooth, scheming jewel thief in a play by C04 68 Jacques Gillies, *"The Takers.**" C04 69 |^*0A polished production by Quentin Lawrence, here, held together C04 70 by \0Mr. Houston's accomplished performance as the master mind behind C04 71 a gang of crooks. C04 72 |^This plot to rob a French millionaire of *+300,000 worth of C04 73 jewellery struck me as ingenious. ^The play had style, moved at a C04 74 quick pace and everyone did well. C04 75 |^But it was \0Mr. Houston's evening. C04 76 |^Earlier, on the Palladium show I found Stanley Holloway's act too C04 77 long and not particularly entertaining. C04 78 |^It was also a mistake to re-book Gene Detroy and his performing C04 79 chimpanzees so soon after their previous appearance. C04 80 |^Their offering last night differed little from their earlier act C04 81 on this show a week or so ago. ^But the Mudlarks, with Jeff Mudd out C04 82 of the Army and back with sister Mary and brother Fred, were in C04 83 bright, zestful form. C04 84 |^Why only two numbers, though? ^It was not enough. C04 85 *<*5A Rix mix*> C04 86 *<*4by *6RICHARD SEAR*> C04 87 |^*6*"A FAIR COP,**" *0the {0B B C} Whitehall farce last night, C04 88 looked like a rabbit warren in a field of corn. C04 89 |^I can't recall a production where so many comics bolted in and C04 90 out of holes so often. C04 91 |^The jokes were a reshuffle of the same old lot*- this time Brian C04 92 Rix lost his skirt instead of his trousers. C04 93 |^*4The action moved at tremendous speed, backed by some wonderful C04 94 timing by the cast. C04 95 |^*0I especially liked the tea-cup scene where six of the cast C04 96 changed cups with the dexterity of Chinese jugglers. C04 97 |^Carole Shelley as the newly-wed and Larry Noble as Smiler Perkins C04 98 were the most laughable. C04 99 |^They alone used a sharp edge to their humour and cut through the C04 100 gormless standing corn around them. ^Perhaps it was accidental*- I C04 101 hope not. C04 102 |^*4If ever a bag of humour needed a thorough shaking up the C04 103 Whitehall farce is it when it comes to television. C04 104 *<*6IT'S AN OLD \2PIANNA PIN-UP*> C04 105 * C04 106 *<*4by Patrick Doncaster*> C04 107 |^*6HOW *4do you get on records? ^Well, you've got to have C04 108 something different. C04 109 |^*0Sing slightly flat. ^All the *4good *0singers sing in tune. C04 110 |^Twang a guitar slightly *4off *0key. ^Everybody's fed up with the C04 111 right way*- so the best-seller charts say. ^*4Play an *6OLD *4\2pianna C04 112 instead of a new one. C04 113 |^*0You got to get it into your head, son... people don't like C04 114 things as they should be*- not on record, anyway. C04 115 |^Thus, musician *4David Lisbon's *0chances of being a starred disc C04 116 solo pianist were greatly enhanced when he dug out *6A PACKET OF C04 117 DRAWING-PINS. C04 118 |^*0*"Why not,**" thought ex-soldier \0Mr. Lisbon, who is C04 119 twenty-three, and lives in Dagenham, Essex, *"press a thumb-tack into C04 120 the nose of the hammers that strike the piano strings?**" C04 121 |^He did, on his piano at home. ^There weren't enough tacks and he C04 122 got only the middle hammers done. C04 123 |^Then he tried it out for sound. C04 124 |^*4Um-chink... um-chink... it went. ^Slightly flat and jangly in C04 125 part. ^*6DELIGHTFUL! C04 126 |^*0He put the sound on tape. ^The tape went to the Philips C04 127 company. C04 128 |^Within two days \0Mr. Lisbon had a record contract. ^And they C04 129 hauled his thumb-tacked joanna the thirteen miles to London for his C04 130 first session. C04 131 |^Now along comes his solo disc, featuring two of his own C04 132 compositions, *"Deerstalker**" and *"Almost Grown Up.**" C04 133 |^*6VERDICT: ^*4\0Mr. Lisbon has it taped. ^And tacked. C04 134 |^*0And he says: ^*"Just as well I had only one box of tacks*- it C04 135 might have been so different....**" C04 136 |^More news from the ivory-thumping \0dept.... ^*4Russ Conway, C04 137 *0who has tinkled his way to fame on an old \2pianna, comes in with C04 138 another of his own works: *"Parade of the Poppets**" (Columbia). C04 139 |^But not one of his nimble-fingered best. C04 140 *<*7CUTE*> C04 141 |^*6GERMANY'S *4Russ Conway is a pianist who calls himself *6CRAZY C04 142 OTTO. ^*4But nothing crazy about his pianistics. C04 143 |^*0He pounds merrily away at a piece called *"Piccadilly**" C04 144 (Polydor). ^I find it cute. C04 145 |^American pianist *4Floyd Cramer, *0who played for Elvis on *"It's C04 146 Now or Never,**" looks like having a success on his own with *"On the C04 147 Rebound**" ({0RCA}). C04 148 | C04 149 |^*4N*2EW *0boy on the vocal front is *4Rolly Daniels, *0who comes C04 150 5,000 miles from India to seek disc fame. C04 151 |^Comedian Hal Monty saw him in Bombay, became his manager. ^And C04 152 such is Hal's faith that he brings him to Europe. C04 153 |^*4Now Rolly gets his big break*- a record, the modern Aladdin's C04 154 lamp of show business. ^Become a success with a disc and hey presto! C04 155 ^You're a star.... C04 156 |^*0Rolly sings with assuredness *"Bella Bella Marie**" C04 157 (Parlophone), a lively song that changes tempo mid-way. C04 158 |^I don't think he will storm the charts with this one, but it's a C04 159 good start. C04 160 | C04 161 |^*4C*2HRIS CHARLES, *039, who lives in Stockton-on-Tees, is an C04 162 accountant. ^He is also a director of a couple of garages. C04 163 |^*4And he finds time as well to be a lyric writer. C04 164 *<*7OBLIGED*> C04 165 |^*0He writes with *4Tolchard Evans, *0composer of *"Lady of C04 166 Spain**" and other big hits. C04 167 |^Tolch, as he is known in Tin Pan Alley, likes songs with a month C04 168 in the title. ^He wrote *"My September Love,**" the big David C04 169 Whitfield hit of 1956. C04 170 |^*"Let's have another song with a month in it,**" said Tolch. C04 171 ^\0Mr. Charles obliged with *"April Serenade.**" C04 172 |^This week it appears, a tuneful melody sung impeccably by Robert C04 173 Earl (Philips). C04 174 *<*6TELEPAGE *4by *6JACK BELL*> C04 175 *<*7A PRODUCER VANISHES*> C04 176 |^*6PRODUCER *4Russell Turner, 33, provides his last programme for C04 177 the {0B B C} tonight with Robert Harbin's *"Mystery and Magic**" C04 178 (7.30). C04 179 |^*0After six years with the Corporation, during which he started C04 180 *"Juke Box Jury**" and directed *"Six-Five Special,**" Turner is C04 181 aiming to go into free-lance {0T V}, film and stage production work. C04 182 |^*4*"I feel I've done all I can at the {0B B C},**" he told me. C04 183 ^*"We mutually agreed to part.**" C04 184 |^*0Escapologist Dill-Russell is a guest in Harbin's show tonight. C04 185 |^*4Boxing fans can see an eight-round feather-weight contest C04 186 between Chris Elliot and Harry Carroll from Leicester ({0B B C}, C04 187 8.25). C04 188 *<*6*'NATIONAL**' AIRS*> C04 189 |^A *2SONGS-OF-BRITAIN *0medley is sung by David Hughes in his C04 190 *"Make Mine Music**" ({0B B C}, 9.30 {0p.m.}). C04 191 |^The numbers include *"Scotland the Brave,**" *"Men of Harlech,**" C04 192 *"McNamara's Band,**" *"Greensleeves**" and *"English Rose.**" C04 193 |^*4Fay Compton stars in *"No Hiding Place**" ({0I T V}, 9.35 C04 194 {0p.m.}). ^She plays the possessive mother of a man whose hobby C04 195 revolves round a doll's house. C04 196 | C04 197 |^T*2HREE *0people will be hypnotised in tonight's *"Lifeline**" C04 198 ({0B B C}, 10.15). C04 199 |^*4They will be asked to comment on the design of everyday C04 200 articles such as a chair and a motor-car. C04 201 *<*6WHAT?*> C04 202 |^*0The idea is to see what happens when parts of the mind not C04 203 normally available without hypnosis are used. C04 204 |^{0*4I *0T V} have postponed Malcolm Muggeridge's *"Appointment C04 205 with playwright Arnold Wesker.**" C04 206 |^*4Instead, Muggeridge's appointment will be with Sir Roy Welensky C04 207 the Premier of the Federation of Rhodesia and Nyasaland (10.30 C04 208 {0p.m.}). C04 209 |^*0Say Granada {0T V}, the producers: ^*"We decided to make the C04 210 switch because of the topicality of African affairs. ^The Wesker C04 211 interview will be seen at a later date.**" C04 212 *<*6LAST NIGHT'S {0TV}*> C04 213 *<*4The soldier who was scared*> C04 214 * C04 215 |^A*2CTOR *0Tom Courtenay was an outstanding success last night in C04 216 {0I T V}'s *"Private Potter,**" his first big {0T V} part. C04 217 |^*4The play was a brilliantly-written essay on soldiering which C04 218 stated that a fighting man could only be regarded as a machine. C04 219 |^*0Potter screamed during an action, and was arrested. ^He claimed C04 220 he had seen a vision of God*- only the padre and his {0C O} believed C04 221 him. C04 222 |^Courtenay played the part with a gawky, Northern defiance. ^The C04 223 cameras played continuously on his craggy face, and obstinate, baffled C04 224 eyes. ^They stripped him of his ugly battle-dress, to leave him for C04 225 what he was*- Potter, a frightened boy who had a vision. C04 226 |^*4It was a splendid interpretation of the part. C04 227 |^*0The rest of the cast were well chosen, with James Maxwell C04 228 making a fine job of the sympathetic {0C O}. C04 229 *<*6IMPOSSIBLE?*- NO!*> C04 230 |^*4Paul Daneman gave another first-class performance last night as C04 231 a wartime naval officer in the {0B B C}'s *"The Little Key.**" C04 232 |^*0The play was no more than a figment of the imagination which C04 233 asked the viewer to believe in a beautiful ghost. ^It would have been C04 234 an impossible piece of television but for clever production by Michael C04 235 Hayes. C04 236 |^He captured the atmosphere of fog and mystery to great effect. C04 237 *<*6*'NOT FAIR**' *4say *6VIEWERS*> C04 238 *<*6LAST NIGHT'S {0T V}*> C04 239 *<*4by *6RICHARD SEAR*> C04 240 |^MORE *4than 100 viewers complained to the {0B B C} last night C04 241 that an American film, *"Britain*- Blood, Sweat, and Tears... Plus C04 242 Twenty Years,**" was anti-British. C04 243 |^*0The film replaced *"What's My Line?**" and *"Be My Guest**" C04 244 programmes because of an electricians' strike. C04 245 |^It showed Britain today through the eyes of an American {0T V} C04 246 reporter, Eric Sevareid, and British personalities. ^Among them*- C04 247 Professor Dennis Brogan, Shelagh Delaney, and Alan Sillitoe. C04 248 |^The film covered a wide aspect of the British scene, ranging from C04 249 pubs, the Eton wall game, to the European Common Market. C04 250 |^Shelagh Delaney and Alan Sillitoe attacked education. C04 251 |^It was left to reporter Sevareid to make the strongest C04 252 criticisms. ^He said that in the race of the modern nations, Britain C04 253 was slipping behind.... C04 254 *# 2012 C05 1 **[076 TEXT C05**] C05 2 *<*4Fine Classical Chorus*> C05 3 *<*4Imparting Ritual Significance*> C05 4 |^*0Scala Theatre: *1The Choephori. C05 5 |^*0Though \0Mr. Dimitrios Rondiris's ideas about the use of C05 6 material from folksong and folkdance in accommodating a classical C05 7 chorus to the modern stage had some chances of expression in his C05 8 production of the Sophocles *1Electra *0last week, the real test comes C05 9 with the Aeschylian equivalent, *1The Choephori, *0and its tailpiece, C05 10 *1The Eumenides, *0which make up the second programme of the Greek C05 11 Tragedy Theatre's season. C05 12 |^For the role of the chorus here is much more important and C05 13 active, particularly in *1The Eumenides, *0than it ever is in C05 14 Sophocles, and the ritual element in the drama, always a stumbling C05 15 block for modern audiences, is much closer to the surface. ^In the C05 16 first play the chorus are embodiments of right judgment in the C05 17 abstract, applying the tests of religion to the situations before them C05 18 and urging the characters to the proper actions even when these, mere C05 19 individual human beings, may be torn by doubt. C05 20 |^In the second they become the Furies, the embodiments of one C05 21 aspect of the divine vengeance, which pursues the slayer of his own C05 22 kind, even if that slaughter was divinely ordained, and finally the C05 23 impersonal prophets of universal reconciliation. C05 24 |^\0Mr. Rondiris's handling of the chorus here is masterly C05 25 throughout: in *1The Choephori *0they still perform the function of C05 26 sympathetic decor, as in *1Electra, *0but if anything with more C05 27 subtlety and control, and when their measured speech passes over into C05 28 song the tones are, remotely but unmistakably, those taught by the C05 29 Orthodox liturgy*- the readiest way of imparting ritual significance C05 30 to their words for a modern audience. C05 31 |^In *1The Eumenides *0they are different again; as the Furies C05 32 pursuing Orestes they take a direct part in the action, and are thus C05 33 required to project emotions of their own instead of merely reflecting C05 34 the emotions of the central characters. ^Savage and weirdly masked, C05 35 they swirl in a turbulent mass about the stage, eschewing until the C05 36 very end the regular, balanced compositions of the earlier play. C05 37 |^The human beings involved in the intricate working out of divine C05 38 justice are relatively less important than in later Greek tragedy, but C05 39 they are strongly played by actors with whom we are already familiar C05 40 from *1Electra. ^*0The protagonist in both plays is Orestes, and \0Mr. C05 41 \0D. Veakis has more chance than he had in the Sophocles to win us C05 42 over to his rather exaggerated style of acting, though he still does C05 43 not quite succeed. C05 44 |^The Electra and Clytemnestra of this earlier production have C05 45 changed places this time (presumably so that Miss Aspassia C05 46 Papathanassiou could appear in both plays, as Clytemnestra and her C05 47 ghost). ^Miss Thalia Kalliga's Electra is as impressive as her C05 48 Clytemnestra, but inevitably Miss Papathanassiou with her incandescent C05 49 pallor and the vibrant intensity of her stage presence seizes our C05 50 attention every moment she is on the scene and it is a measure of her C05 51 power over the whole production that when the curtain finally descends C05 52 it is not the harmony of the close, but Clytemnestra's ghost crying in C05 53 the night for vengeance, which remains most potently in our minds. C05 54 *<*6FINE EXHIBITION OF SPORTING PRINTS*> C05 55 *<*2AGE OF THE COLOURED AQUATINT*> C05 56 |^*0The exhibition of English and French engravings of the C05 57 eighteenth and nineteenth centuries at \0*1Messrs. Agnew's Galleries, C05 58 43, Old Bond Street, *0until July 8, is a pleasant reminder mainly of C05 59 the age of the coloured aquatint though it includes also examples of C05 60 the delicate French line-engravings after Moreau \le Jeune from {*1Le C05 61 Monument de Costume}. C05 62 |^*0It represents in impressions of excellent quality such famous C05 63 prints as Debucourt's *"{La Promenade Publique}**" of 1792, the view C05 64 of Westminster Hall and Abbey engraved by \0D. Havell after \0J. C05 65 Glendall, and the now rare coaching subjects of James Pollard of which C05 66 *"The Royal Mails preparing to start for the West of England, 1831**" C05 67 (from the *"Swan with Two Necks**", Cheapside) is a notable example. C05 68 ^Joseph Farington gains from translation into aquatint in the plates C05 69 from Boydell's *"History of the River Thames**" and some interesting C05 70 views of early nineteenth century Greece include an aquatint of the C05 71 Parthenon (Dodwell-Bennett) as it must have appeared shortly after C05 72 Lord Elgin had removed the *"Marbles**". ^The sporting prints by C05 73 Herring and Alken are good examples of an always popular genre. C05 74 *<*6PICTORIAL CONFECTIONS*> C05 75 |^*0Closely alike in style, the pictures of Dietz Edzard and C05 76 Suzanne Eisendieck may be suitably described as *"confections**" and C05 77 the sugared quality the word implies pervades the current exhibition C05 78 of their work at the *1Adams Gallery, 24, Davis Street, \0W.1, C05 79 *0giving to views of Venice and Normandy a charm curiously remote from C05 80 reality. ^The idyllic combination of figure and landscape in which C05 81 these artists have specialized needs a sweet tooth of appreciation. C05 82 ^The exhibition continues until June 30. C05 83 *<*4Moral Earnestness in Ballet*> C05 84 |^*0The social and aesthetic climate of Soviet ballet is so C05 85 different from our own that in considering Russian ballet today we C05 86 start at a considerable disadvantage. ^The sense of moral earnestness, C05 87 the view that art should be a guide and mentor for the people, which C05 88 is the substructure of Soviet choreography, can produce effects which C05 89 will strike us as naive or old-fashioned; yet this would not perhaps C05 90 be so important were it not for the fact that the use made of dance C05 91 movement and of performers must necessarily reflect this same feeling. C05 92 |^The choreographic manner*- where the hero's leaps are an C05 93 affirmation of faith, and the heroine, held aloft, is woman-kind as a C05 94 triumphant inspiration and reward for the hero's endeavours*- has an C05 95 initial excitement which too often declines into dramatic cliche*?2, C05 96 to the detriment of our western enjoyment of the dancing as a stage C05 97 spectacle. C05 98 |^These are the very faults of *1The Stone Flower *0with which the C05 99 Leningrad State Kirov Ballet opened their season at Covent Garden last C05 100 night. ^The plot tells of a stone-cutter, Danila, loving a young girl, C05 101 Katerina, and dissatisfied with his art. ^His longing to create a C05 102 perfect stone flower takes him to a magical cavern, presided over by C05 103 the Mistress of the Copper Mountain. ^There he learns the secrets of C05 104 his craft, and there Katerina comes at last to fetch him away from the C05 105 Mistress of the Mountain, who reluctantly lets him go. C05 106 |^It is, baldly, an uneven work, but even in our limited experience C05 107 of Soviet ballet, an interesting one, and an unusual departure from C05 108 anything we have seen previously from Russia. ^Gone is the realist C05 109 de*?2cor; instead, a back drop rises to reveal the various changes for C05 110 scenes which are otherwise played on a bare stage and with simple C05 111 black wings. C05 112 |^The choreography is the first major creation of the young Yuri C05 113 Grigorovich, and it demonstrates a talent not as yet up to the demands C05 114 of a large work. ^For Danila and Katerina he uses a free-flowering C05 115 classicism, while for the Mistress of the Mountain he has devised a C05 116 quasi-acrobatic style, sinuous, angular, and very brilliant. ^He is C05 117 most successful in adapting folk-dancing for the chorus of peasants C05 118 and gipsies, and he shows a remarkable gift for movement for a large C05 119 corps, dazzling, intricate, and with a muscular brio that is C05 120 enormously effective. ^But against this we have to set scenes for the C05 121 {6corps de ballet} of jewels that seem fidgety and sterile exercises C05 122 in academic movement, lacking any originality. C05 123 |^The three principals are admirable: as Danila, \0Mr. Yuri C05 124 Soloviev gives a tremendous performance; he has a prodigious technique C05 125 in leaps and turns, he is a fine partner, and conveys that sense of C05 126 dramatic conviction that can disarm our criticism of a character that C05 127 is not fully explored in the ballet. ^As Katerina and the Mistress of C05 128 the Mountain Miss Alla Sizova and Miss Alla Osipenko are well C05 129 contrasted, with Miss Sizova's warm lyrical style matched against the C05 130 force and e*?2clat of Miss Osipenko. C05 131 |^The company are seen best in the character dances; as peasants C05 132 and gypsies in a fair scene that inevitably recalls *1Petrushka *0they C05 133 show just how much dramatic variety can be obtained from a superb C05 134 corps. ^In the *"classical**" sequences we can only appreciate the C05 135 difference that still exists between Leningrad and Moscow dancers; C05 136 here is a style that seems nearer our own, more reserved and less C05 137 emotionally extreme than the Bolshoi. C05 138 |^The Prokofiev score, magnificently handled by \0Mr. Niazi, is C05 139 adequate as ballet music, but a first hearing does not reveal it as of C05 140 the standard of *1Romeo and Juliet, *0or even as appealing as C05 141 *1Cinderella. C05 142 *<*6WIDE COLOUR ON HARPSICHORD*> C05 143 * C05 144 |^*0In spite of the harpsichord's popularity, true harpsichordists C05 145 these days are very rare. ^Miss Silvia Kind, who played a varied and C05 146 consistently interesting programme at Wigmore Hall last night, can C05 147 hardly be considered one just yet. C05 148 |^An attack of nerves in Bach's Italian Concerto caused her to take C05 149 the outer movements at perilously fast tempi with scarcely a thought C05 150 for any detailed phrasing of their melodic lines; if at the start of a C05 151 recital this could be forgiven, her reliance on colour effects to C05 152 underline the structure of the music*- which unfortunately persisted C05 153 throughout much of the remainder of it*- most certainly could not. C05 154 ^The expressive powers of a harpsichord are by no means directly C05 155 proportionate to the number of registrations it possesses. C05 156 |^In some seventeenth-century programme pieces by John Bull, C05 157 Bernardo Pasquini and Alessandro Poglietti the employment of a wide C05 158 variety of colour {6*1per se} *0seemed appropriate enough; in C05 159 Mozart, however (the *1Duport *0variations \0K.573), such superficial C05 160 treatment chopped up the music altogether too much. C05 161 |^But the performance of Bach's D major Toccata *2BWV *0912, with C05 162 which Miss Kind ended her recital, combined some splendidly bold and C05 163 free declamatory playing with keen perception of the work's continuity C05 164 and nobility of outline. ^It suggested, in fact, that Miss Kind is a C05 165 very much better harpsichordist than this recital as a whole revealed. C05 166 *<*6UNEQUAL SUPPORT FOR THREE AUTHORS*> C05 167 |^*0Webber-Douglas School: *1Triple Bill C05 168 |^*0Thirteen second-year students appeared in last night's C05 169 performance, and one's judgment of them might have been fairer, if the C05 170 running order of the programme had been reversed. ^As it was, their C05 171 failure to make the first two items work as play, was irritating, and C05 172 caused one to undervalue even those pieces of acting which obviously C05 173 had merit, such as those of Miss Jocelyn Carney in Act *=1 of *1The C05 174 Chalk Garden *0and of all three players in *1A Phoenix Too Frequent, C05 175 *0Miss Amanda Reeves, Miss Sonia Hughes, and \0Mr. Aart \van Bergen. C05 176 |^The cast of the third piece, *1The Dark Lady of the Sonnets, C05 177 *0did not reach a noticeably higher standard than that of \0Mr. C05 178 Christopher Fry's play, yet the former, consisting of \0Mr. Gerald C05 179 Curtis (Shakespeare), Miss Gabrielle Griffin (Queen Elizabeth *=1), C05 180 Miss Hazel Prance and \0Mr. Gilbert Sutherland, seemed to have no C05 181 trouble in persuading us to take Shaw's 50-year-old plea for a C05 182 National Theatre in excellent part. C05 183 |^The movement at the beginning when the Tudor Beefeater made the C05 184 same damning criticism of Shakespeare's play that people were still C05 185 making of Shaw's plays in 1910 was such a delight that we were C05 186 prepared from then onwards to be satisfied with everything. ^But to C05 187 accept so much help from Shaw and themselves to give so little help to C05 188 their other two authors, Miss Enid Bagnold and \0Mr. Fry, looked like C05 189 weakness in this student company. C05 190 *<*4Zurich Sees Two Contrasting Versions of Dostoevsky's Crime and C05 191 Punishment*> C05 192 *<*2FROM OUR SPECIAL CORRESPONDENT*> C05 193 |^*0Two stage versions of *1Raskolnikoff *0have been presented here C05 194 in Zurich during the June Festival. ^Leopold Ahlsen's play was brought C05 195 to the Schauspielhaus in the production of the Berlin C05 196 Schlosspark-theater and Heinrich Sutermeister's opera is in the C05 197 season's repertory of the Stadtheater. ^Seen here on consecutive days C05 198 these two adaptations of Dostoevsky's novel seem as different from C05 199 each other*- and in many ways from the book itself*- as current C05 200 opinions on crime and punishment are sometimes at variance. C05 201 |^\0Mr. Ahlsen's play might well have been given the alternative C05 202 title of *"Crime and Detection**", and derives much of its dramatic C05 203 impetus from being a good thriller. ^But it goes deeper than that, C05 204 too. ^It is a fascinating psychological study and draws some attention C05 205 to the political, metaphysical, religious, and moral aspects of the C05 206 subject under discussion, namely, the taking of human life. C05 207 *# 2027 C06 1 **[077 TEXT C06**] C06 2 *<*4the thursday critics*> C06 3 *<*6KENNETH ALLSOP*> C06 4 *<*6THE NEW BOOKS*> C06 5 *<*6BEHAN BESTOWS AN ACCOLADE ON DELANEY*> C06 6 *<*4She's the flower in a cultural desert, he says*> C06 7 |^*6I*2T *0is mid-morning on a Dublin Sunday. ^The streets are C06 8 tranquilly sunny and still, for the town is at Mass. ^Most of it. ^In C06 9 the front room of a house in Anglesey-road is a congregation who never C06 10 actually got to church, but who are gathered with devotion around C06 11 Brendan Behan and a brandy bottle. C06 12 |^Where the \2bhoys are. ^In the hallway are the empties; through C06 13 the door hearts are full, hopes are high. ^There are still a few amber C06 14 inches in the bottle. C06 15 |^Present are some hard-core Friends of Brendan. ^They listen with C06 16 many an obliging guffaw to the brandy owner's solo swish on his C06 17 anecdotal roller-coaster, with occasional stops for an old {0I.R.A.} C06 18 air or a Connemara tear-jerker. C06 19 *<*4Pluckily*> C06 20 |^*6A*2LSO *0present is a London journalist who arrived two hours C06 21 earlier by appointment to talk to the author of *1Borstal Boy *0and C06 22 *1The Hostage *0about his new work, if any, and who is now being C06 23 pluckily convivial to fight off the frustration. C06 24 |^The telephone has rung a couple of times, calls from other chums C06 25 sniffing the wind and offering to drop by for a chat. C06 26 |^At last Brendan*- to the journalist's relief*- turns his C06 27 attention to the writing scene. ^He proceeds to place himself in the C06 28 literary hierarchy. C06 29 |^*"I consider myself,**" he says, *"a cut above Evelyn Waugh C06 30 socially, a cut above Nancy Mitford artistically, a cut above Frank C06 31 Haxell conversationally. C06 32 |^*"But,**" he continues, *"the greatest is Shelagh Delaney. ^Just C06 33 because *1A Taste of Honey *0was set in Salford they put on her the C06 34 limiting label of working-class writer. ^That's as bloody silly as C06 35 calling a Rolls-Royce a type of transport. ^She's the flower in a C06 36 cultural desert. C06 37 |^*"Now, me*- I'm a journalist, I write to entertain rather than C06 38 educate. ^And I don't write at all unless I'm exceedingly \2skint. C06 39 |^*"But I'll say this. ^I'd like to live in America and do some C06 40 writing there. ^It's a very free place to write in, and there's the C06 41 advantage that no one knows what you're writing about anyway. C06 42 |^*"Not that I did much when I was over this past two times, not C06 43 with that great little Irish bar on Seventh Avenue, The Pigsty, always C06 44 open. ^I was there, in even faster orbit, when that third astronaut C06 45 went up*- what's his name? ^I'm the only man on earth who doesn't know C06 46 what his name is. ^Don't tell me. ^I want to preserve that C06 47 distinction. C06 48 |^*"I already know about Shepard and that Salvation Army chap C06 49 Gagarin*- the two biggest bores since Cardinal Newman. ^That's enough C06 50 of all that hooey.**" C06 51 *<*4Gravely*> C06 52 |^*6H*2E *0plunges on into reminiscences of his trips. ^There is C06 53 much to recall. C06 54 |^Among other incidents he was banned from New York's \0St. C06 55 Patrick's Day parade as a *"disorderly person.**" C06 56 |^He was in a fight after telling a Canadian, during a chat about C06 57 space-flight: ^*"Ireland will put a shillelagh into orbit, Israel will C06 58 put a matzo ball into orbit, and Lichtenstein will put a postage stamp C06 59 into orbit before you Canadians put up a mouse.**" C06 60 |^And he suffered an alcoholic seizure and was gravely ill in C06 61 hospital with a diabetic and heart condition. C06 62 |^His return to Dublin was heralded by the announcement that he was C06 63 *"off the gargle*- a retired alcoholic.**" ^Since then he has been C06 64 heard of often in the newspapers*- three times up before the beaks for C06 65 drunk and disorderly conduct. C06 66 *<*4Partially*> C06 67 |^*6L*2ESS *0has been heard of Brendan's work. ^It is now five C06 68 years since his first play, *1The Quare Fellow, *0was produced, three C06 69 years since *1Borstal Boy *0was published and *1The Hostage *0was put C06 70 on. C06 71 |^What has happened to the play, *1Richard's Cork Leg, *0begun 18 C06 72 months ago and due for presentation at the Theatre Royal, Stratford, C06 73 last spring? ^It was never finished. C06 74 |^What happened to the new book partially tape-recorded by his C06 75 publishers in March of last year? ^Still a skeleton. C06 76 |^Yet I have before me now a 12,000-word manuscript of a book C06 77 planned to be called *1Confessions of an Irish Rebel *0which was C06 78 delivered to his agents in June. C06 79 *<*4Zestfully*> C06 80 |^*6I*2T *0begins: ^*"There was a party to celebrate Deirdre's C06 81 return from her abortion in Bristol.**" ^It is ribald, funny, C06 82 brilliantly observant of character, and authentic as a glass of C06 83 draught porter. C06 84 |^But will we see its end? ^The last scene of this fragment is in a C06 85 pub where the author throws a *+10 note on to the bar and orders a C06 86 round for the pals, one of whom cries: ^*"Now aren't you the great C06 87 sport, though, Brendan Behan!**" C06 88 |^It is apparently praise that is still so important to him that he C06 89 lets his talent drown*- for not very deep under the histrionics of C06 90 having a zest for life must be a great fear of living. C06 91 *<*6BOOKS IN BRIEF*> C06 92 |^*2STEPHEN MORRIS, *4by Nevil Shute (Heinemann, 16\0s.). ^*0This C06 93 first attempt at novel writing*- two unpublished stories from the C06 94 '20s*- is the last work we shall see of the late Nevil Shute. ^It will C06 95 interest devotees, but, despite the accurate flying-lore and natural C06 96 story-telling skill, it is a creaky piece of apprenticeship. C06 97 |^*6{0L. S.} LOWRY *4(Studio books, 21\0s.). ^*0The Painters of C06 98 Today series issues this attractive collection of the work of perhaps C06 99 the most fascinating artist in Britain today*- the Lancastrian who C06 100 does those vivid crowded dream pictures of the industrial scene. C06 101 ^There is a warm and illuminating monograph by Mervyn Levy. C06 102 |^*6PULL MY DAISY *4(Evergreen Books, 10\0s. 6\0d.). ^*0Jack C06 103 Kerouac's ad-libbed text for the beat film made in a Bowery flat by C06 104 Robert Frank and Alfred Leslie, with stills of the strolling players, C06 105 including Allen Ginsberg and Gregory Corso. ^It reads like a demented C06 106 kind of litany*- the American free-livers doing what comes naturally, C06 107 and with the beat between their teeth. C06 108 *<*6EVE PERRICK*> C06 109 *<*6THE NEW FILMS*> C06 110 *<*5\La Lollo and the hockey girl bully-off*> C06 111 |^*6I *2AM *0happy to report that I saw something this week I have C06 112 never before witnessed, either in pictures or outside*- a budgerigar C06 113 playing a drunk scene, and playing it with perfect timing and C06 114 technique. C06 115 |^It gives one loud, clear hiccup and falls flat on its back. C06 116 |^This brilliant budge, I may add, gets no credit in the cast list C06 117 of *4Come September *0(Odeon, Leicester-square), which suggests that C06 118 it is either using a stand-in for the stunt stuff or needs a more C06 119 pushful personal manager. C06 120 |^The performance of our talented feathered friend is not the only C06 121 good thing (although the one original touch) in the film, which is C06 122 better-than-average glossy comedy, Hollywood-styled, European set. C06 123 |^Most of it has been shot in and around the sun-terrace of the C06 124 Hotel Splendido (renamed the Dolce Vista for the picture) in C06 125 Portofino*- and if there's a better view to be had from a more C06 126 comfortable vantage point anywhere, I'd like to see it. C06 127 *<*6NIGHTIES*> C06 128 |^*0It also parades Gina Lollobrigida in a selection of C06 129 neglige*?2e-and-nightie ensembles not too well designed for sleeping C06 130 in, and Rock Hudson at the wheel of a shining silver Rolls-Royce. C06 131 |^\0Mr. Hudson is an American millionaire who spends each September C06 132 in his Italian villa and the company of Signorina Lollobrigida. C06 133 |^In the holiday seasonal months before and after this annual idyll C06 134 his major-domo (Walter Slezak at his most nauseating) turns the C06 135 palazzo into a luxury hotel. C06 136 |^Inevitably there comes the time when \0Mr. Hudson suddenly breaks C06 137 with tradition and arrives there in July, when, just as inevitably, C06 138 the place is full of American teenagers on an escorted tour. C06 139 |^Result: ^\0Mr. Hudson and lady love Lollo find themselves playing C06 140 chaperon (Brenda \de Banzie, the official one, has broken a leg) to C06 141 the girls, who have just been joined by a Jeep-load of boys. C06 142 |^It's hereabouts that the budge takes to the bottle, but I don't C06 143 think it was through boredom. C06 144 |^The film is funny enough in places and has a line or two of C06 145 painful home truths thrown in. C06 146 *<*6GOODIES*> C06 147 |^*0*"I don't want to talk like an adult,**" screams Gina, walking C06 148 out on the man who has so far failed to make an honest woman of her. C06 149 ^*"That's how I got into all this trouble.**" C06 150 |^*"He's got to be 35,**" says Bobby Darin, the chief spokesman of C06 151 the jeans-and-Jeep brigadiers as they're scheming to get rid of old C06 152 man, solid Rock. ^*"How many hills can he take?**" C06 153 |^Of course \0Mr. Hudson can take one more hill than the C06 154 youngsters. ^So all ends as you know it will, with the middle-aged C06 155 romancers respectably wed and Master Darin going steady with the C06 156 delectable Sandra Dee (to whom, I believe, he is married in real C06 157 life). C06 158 |^Miss Dee, incidentally, who keeps turning up as the typical C06 159 teenager in all the *"good girl**" parts (Tuesday Weld gets the *"bad C06 160 girl**" ones), is becoming quite an accomplished actress. C06 161 *<*6STUDIES*> C06 162 |^*6T*2HE *4Marriage-Go-Round*0 (Carlton) is also a comedy of C06 163 manners, but fun-films toting an X certificate have to keep a sharp C06 164 look-out that the jokes about sex (what else would they joke about C06 165 with an X?) are of the witty, verbal variety and not the visual C06 166 slapstick. C06 167 |^This has only one gag*- that of the entry of a gladiator (female, C06 168 7\0ft. high, *'stacked**' and Scandinavian) into the cosy but C06 169 unbelievably elegant household of a pair of married college C06 170 professors. C06 171 |^The girl is a knock-out (see picture of Julie Newmar for C06 172 confirmation). ^She also has quite a mission in mind. C06 173 |^She, *"younger, prettier, stronger, and more intelligent**" than C06 174 the wife (as she soon tells her), wants to have the perfect baby. ^And C06 175 she has chosen the husband (James Mason), who is an academic friend of C06 176 her Nobel prize-winning father to be Big Daddy. C06 177 |^This sort of situation calls for some subtle, slightly sardonic C06 178 handling. ^It doesn't get it. C06 179 |^But *1The Marriage-Go-Round *0is not entirely a waste of time. ^I C06 180 learned from it that in the Institutes of Advanced Studies attached to C06 181 some American universities the subject Social Psychology used to be C06 182 called Home-making and is now known as Domestic Relations. C06 183 |^Susan Hayward plays the wife sharply and sweetly. ^Mason is C06 184 always good for a glower. ^And Miss Newmar is a stunner in every sense C06 185 of the word. C06 186 |^According to the script she was once captain of the junior hockey C06 187 team at her school. ^So help me so was I. C06 188 *<*6ESSAYS*> C06 189 |^*6{IL GRIDO} *0(The Cry)*- Paris Pullman*- is an earlier essay C06 190 in atmospheric meandering by the *1{L'Avventura} *0man, Michelangelo C06 191 Antonioni. C06 192 |^In it Steve Cochran, deserted by Alida Valli, roams the Pontine C06 193 Marshes, alternately enjoying the hospitality of three lonely, C06 194 sex-starved women, before returning home. C06 195 |^Whereupon he climbs to the top of the tower in the sugar-beet C06 196 refinery, suffers an unexplained attack of vertigo and falls to his C06 197 death. C06 198 |^Maybe this is a masterpiece, too. ^I just wouldn't know. C06 199 *<*4the thursday critics*> C06 200 *<*6KENNETH ALLSOP*> C06 201 *<*4Did the electric chair fully avenge this baby's murder?*> C06 202 *<*4Now new doubts are raised about the most notorious kidnapping of C06 203 the century*> C06 204 |^*6O*2N *0a March evening in 1932 in the New Jersey family C06 205 household the nursemaid tiptoed into the baby's room to see that C06 206 20-month-old Charles \0Jun. was sleeping. C06 207 |^Bending over the cot, she suddenly realised that there was no C06 208 sound of breathing. ^She thrust out her hand*- and felt emptiness. C06 209 *<*6NATIONAL AGONY*> C06 210 |^A *2FEW *0minutes later the father gripping a loaded rifle, told C06 211 his wife: ^*"Anne, they have stolen our baby.**" C06 212 |^It was not only their baby*- it was America's. ^The grief of the C06 213 young parents became a national agony that erupted into hysteria when C06 214 nine weeks later the child of Charles Lindbergh, hero aviator and C06 215 golden boy, was found murdered. ^*4Kidnap, *0by George Waller (out C06 216 today, Hamish Hamilton 30\0s.), is a painstaking, meticulous account C06 217 of the most notorious and publicised crime of the 30's. C06 218 |^The plain, sober manner of its style all the more tellingly C06 219 points up not only the horror of the case itself, which floundered on C06 220 to the electrocution four years later of a German-born Bronx carpenter C06 221 named Bruno Richard Hauptmann, but to the raree-show emotionalism and C06 222 sensation-hunger of that era. C06 223 *# 2003 C07 1 **[078 TEXT C07**] C07 2 *<*7TOULOUSE-LAUTREC AT THE TATE*> C07 3 **[ILLUSTRATION**] C07 4 *<*4Vigour and Decay*> C07 5 * C07 6 * C07 8 |^L*2AUTREC'S *0liking for whores and dancers and singers and C07 9 acrobats as subjects was, of course, a perfectly commonplace taste C07 10 among artists of his time. ^What is singular about his use of them is C07 11 that no other artist, of his time or any other, has painted them so C07 12 directly, intimately and pertinently. C07 13 |^He doesn't, on the one hand, use them as symbols, pegs for a C07 14 moral or aesthetic attitude, as the young Picasso does (to take one C07 15 example among many); and on the other hand, he doesn't use them only C07 16 for the way they look, like Degas, whose dancers are more or less C07 17 interchangeable with his laundrywomen*- the same breed with a C07 18 different set of gestures. ^He is concerned with them as they are and C07 19 also for what they are. C07 20 *<*4The artist and his obsessions*> C07 21 |^*0This can't be explained away by his extreme personal C07 22 involvement with them. ^Artists don't necessarily bring the deepest C07 23 obsessions of their life into their art*- not in a direct way. ^A poet C07 24 who is drunk doesn't necessarily write Odes to Bacchus. ^A painter who C07 25 loves whores doesn't have to paint whores in order to express in art C07 26 what it is in himself that makes him love them. ^He may be able to C07 27 express this better by painting duchesses or cats or velvet-curtained C07 28 rooms. C07 29 |^In painting whores and entertainers, Lautrec was choosing to C07 30 paint those whose body is their fortune. ^His own body was his C07 31 misfortune. ^He must have felt this all the more poignantly for not C07 32 having been a cripple from birth, but from an age, fourteen, by which C07 33 he had acquired some relish in using his body, in riding and shooting. C07 34 |^He must have suffered not only from knowing what a monster he was C07 35 to look at, but also from the uselessness to himself of his distorted C07 36 body. ^This perhaps is what gave him a fascination with bodies that C07 37 were agile, bodies that could do what was asked of them, and bodies C07 38 that others wanted to use. C07 39 |^At the same time, he needed to reassure himself about his own C07 40 deformity with his consciousness that these bodies also would in time C07 41 become, as his had, useless and hideous and unwanted, and that they C07 42 would become so through the very exploitation of their desirability. C07 43 |^Lautrec's vision of his women is, I think, the outcome of some C07 44 such ambivalence as this: on the one hand, celebration of their easy C07 45 animal vigour and grace; on the other, celebration of the knowledge C07 46 that they too would fall into decrepitude. ^For it is not a present C07 47 state of decay that Lautrec presents as a rule, but only an intimation C07 48 of decay. C07 49 *<*4Partaking of vitality*> C07 50 |^*0He isn't at all Swiftian about women: he doesn't, getting C07 51 close, rejoice in recoiling from their enlarged pores. ^He paints them C07 52 as desirable*- not glamourised, but desirable as women are in the C07 53 flesh. ^His women are excitingly depraved, but they aren't sick, they C07 54 are anything but sick; they convey a terrific sense of well-being. C07 55 ^And they are drawn with a longing to share in that well-being, as if C07 56 the painter, by transmitting to canvas the tautness and flexibility C07 57 and plasticity of their limbs, were by this somehow partaking of their C07 58 vitality. C07 59 |^He is no moralist, then; he doesn't use art as a means of C07 60 revenge. ^He is no Expressionist, inflicting (like those Central C07 61 European artists who have borrowed from his style and iconography) C07 62 upon the appearance of his whores an idea of their inner corruption, C07 63 making their bodies reflect the supposed state of their souls. ^He C07 64 paints them in all their ambiguity. ^He paints the presence of their C07 65 beautiful vitality, the promise of their decay, the process of C07 66 transition between them. C07 67 |^The artist he resembles most closely in spirit is, I think, C07 68 Watteau. ^Watteau, dangerously delicate in health, paints a world of C07 69 pleasure in which the threat of death is as surely present as in those C07 70 medieval images in which skeletons dance among the ladies of the C07 71 court. ^Lautrec, misshapen and useless, paints the agile and usable C07 72 bodies of women who are well aware that they are on the way to being C07 73 used-up. ^The transience of youth is the common theme, and Lautrec as C07 74 much as Watteau is a truly tragic artist in that he communicates not C07 75 only the certainty of loss but the sense of how much there is to lose. C07 76 |^The Arts Council show of paintings and drawings at the Tate is C07 77 not a major exhibition. ^It consists of a selection of works from the C07 78 Toulouse-Lautrec Museum at Albi, France, plus a score of things from C07 79 other collections in France and England. ^The Albi contribution, C07 80 helped by \0Mr. Jeffress's portrait of Emile Bernard, makes the C07 81 representation of the early work as strong as could be wished: it C07 82 shows how his art was based on a wonderfully sure grasp of form in the C07 83 round. ^There are a number of notable drawings and sketches. ^But of C07 84 his finest paintings there are no more than a handful. C07 85 *<*2AT THE GALLERIES*> C07 86 *<*4Brave New Age of Bronze*> C07 87 * C07 88 |^R*2ODIN'S *0ghost will not be laid. ^It is that old master's C07 89 energy and rugged form, rather than his aspirations, which have C07 90 influenced two of the three conspicuous sculptors this week: *4Ralph C07 91 Brown *0(Leicester Galleries) and the American *4Jack Zajac *0(Roland, C07 92 Browse's). C07 93 |^Ralph Brown began as a social realist sculptor infusing C07 94 tenderness into a gawky mother fondling a child, an infant bowling a C07 95 hoop. ^His responsiveness to the earthy human being, often in turning C07 96 or more lively movement, is well seen in the swing of an adolescent C07 97 girl and in some fine figure drawings. ^But recently his sculptural C07 98 conceptions, carried out in *1{ciment fondu} *0for bronze, have C07 99 become more complex. ^His search now is for a metaphor for the human C07 100 figure. ^Preserving the human attributes in out-thrust scrawny limbs C07 101 and references to the ribbed torso, his images also resemble the C07 102 growth of trees. ^Thus his forms have become bunched, with knobbly C07 103 casing and clefts hard to read anatomically, and with lean stumpy C07 104 extremities. C07 105 | C07 106 |^*2THIS WORKS *0well in the more fluid forms of his swimmers where C07 107 the whole emphasis is on their gliding motion or contortions. ^It C07 108 doesn't work, I think, in the arbitrary protrusions of the trunks of C07 109 his humanistic standing figures. ^Henry Moore's stylisation is C07 110 entirely consistent when one recognises that the twist of a worn C07 111 ridged pebble has suggested the bony structure of a figure as C07 112 timeless. ^Brown's distortions, on the other hand, seem superimposed C07 113 on the anatomical structure of his statue of a man with a child on his C07 114 shoulders, whose first impression of brute strength yields to a sense C07 115 of uncertain architecture and even pretentiousness. ^The search for a C07 116 synthesis, a metaphor for tough masculinity, continues. ^Brown is C07 117 happiest here in recent reliefs as sensitive as the shapes of his C07 118 swimmers surfacing. C07 119 |^Whereas Brown gropes ambitiously and often clumsily, Jack Zajac C07 120 seems perfectly assured. ^This young sculptor from Ohio has worked in C07 121 Rome, and the exuberant baroque of his prancing hybrid figures is as C07 122 clearly Italianate as his rugged porters are Rodinesque. ^Italy has C07 123 moulded the elegance of his bronze forms, elegantly mannered even when C07 124 the theme is as violent as a sacrificial goat trapped by a stake. ^The C07 125 volumes and agitated silhouettes in this Easter Goat series are always C07 126 expressive. ^The drama of imminent death reaches its climax in the C07 127 cruciform design of the beast with rearing neck and spreadeagled legs C07 128 against the long goad. ^One admires the inventive interplay of hard, C07 129 tusky forms and vulnerable belly without being in the least moved by C07 130 the torture. ^Aplomb is a cooling quality. C07 131 | C07 132 |^*2MORE *0mature than either, with a certainty of architectonic C07 133 design still denied to Brown, {0F. E.} McWilliam held me longest C07 134 with his recent bronzes sparely arranged at Waddington's galleries. ^I C07 135 was quite unsympathetic to his earlier surrealist figures, dismembered C07 136 and reassembled, their capriciousness masking for me the C07 137 reflectiveness of his mind. ^From these carvings he moved on to metal C07 138 totem figures, two of these aloof, highly wrought effigies standing C07 139 here as a reminder of them. ^His more recent shield-like emblems or C07 140 icons yield their dark spell without the demonstrativeness of C07 141 Paolozzi's encrusted objects. C07 142 |^They are deliberately frontal in aspect. ^Their intricately C07 143 textured and symbolic relief sometimes appears positive on the front, C07 144 negative on the back surface. ^The mood is equivocal, more capricious C07 145 in small variations of cult objects, contemplative in his large C07 146 bronzes. ^McWilliam may be unconscious of the distinction, for his C07 147 appeal is to different levels of consciousness. ^A trinity of figures C07 148 communes in the hollow of a great saucer. ^A beacon seen on the shore C07 149 becomes transfigured into an ominous signal-cum-lookout post. ^A C07 150 Corinthian helmet inspires an exploration of hollow form, with the C07 151 inscrutable menace of the visor still preserved. ^His personality is C07 152 impressed on every delphic image. C07 153 |^How it is that Celtic mystery and individual beauty can coalesce C07 154 in a flaky, metal shield on prongs is hard to say in simple terms. ^It C07 155 is simplest to say that McWilliam's restless fancy has found C07 156 fulfilment in his most satisfying sculptures to date. C07 157 *<*4The Supremacy of Personality*> C07 158 *<*2THE CHARACTERS OF LOVE. *1By John Bayley. (Constable. 21\0s.)*> C07 159 *<*4By *6PHILIP TOYNBEE*> C07 160 |^*4T*2HE *0ambiguous title reveals, by the end of this book, a C07 161 depth of meaning. ^*"Love,**" writes \0Mr. Bayley, *"is the C07 162 potentiality of men and women which keeps them most interested in each C07 163 other.**" ^And later, writing of his reasons for choosing *"Troilus C07 164 and Criseyde,**" *"Othello**" and *"The Golden Bowl**" to illustrate C07 165 his thesis, he has this to say:- C07 166 **[BEGIN INDENTATION**] C07 167 **[BEGIN QUOTE**] C07 168 |^Their achievement becomes more impressive and their status more C07 169 clear if we realise how decisive in all of them is the idea of a C07 170 conflict of sympathies, the kind of conflict which can only be set up C07 171 by an opposition of characters of the old kind. C07 172 **[END QUOTE**] C07 173 **[END INDENTATION**] C07 174 |^In a sense the theme of love is secondary to \0Mr. Bayley's main C07 175 purpose, which is to vindicate his faith in *"the supremacy of C07 176 personality in the greatest literature.**" C07 177 |^It is a theme, of course, which is extremely familiar. ^Countless C07 178 old Dickensian hacks have been bemoaning Pickwick and Micawber ever C07 179 since novelists and critics first began their resolute march in a C07 180 different direction. ^But the point about \0Mr. Bayley's book, which C07 181 makes it, I believe, a critical work of the first importance, is that C07 182 he is a man of great intelligence and deep reading who is very well C07 183 aware of all the arguments which have been used against his position. C07 184 ^He is, in the literal sense, a reactionary; and he is reacting with C07 185 passion and intellect against some of the principal assumptions of C07 186 modern criticism and modern fictional practice. C07 187 | C07 188 |^*2IT IS *0impossible to summarise the long chapters in which C07 189 \0Mr. Bayley has investigated the chosen illustrations of his theme. C07 190 ^I shall allow him, where possible, to speak for himself. ^Of C07 191 Chaucer's poem and its origins he has this to say:- C07 192 **[BEGIN INDENTATION**] C07 193 **[BEGIN QUOTE**] C07 194 |^All these [qualities in Boccaccio] Chaucer modifies in some way, C07 195 throwing round them a haze of the atypical and the individual. C07 196 ^Whereas everything in Boccaccio is hard, elegant and general, in C07 197 Chaucer it is muted, peculiar, full of objects that are unexpected and C07 198 yet oddly characteristic. C07 199 **[END QUOTE**] C07 200 **[END INDENTATION**] C07 201 |^*"Othello,**" for \0Mr. Bayley, *"has a subtle and singular C07 202 function, unique among Shakespeare's plays, and in its peculiar blend C07 203 of effect reminds us ... of the novel.**" ^And against the many C07 204 hostile critics of the play he suggests that they have adopted the C07 205 false premise of supposing *"that the great play should be impersonal, C07 206 that the quirks and undercurrents of individual psychology should be C07 207 swallowed up in a grand tragic generality.**" C07 208 |^As for *"The Golden Bowl,**" among many other personalising C07 209 qualities which he finds in it, \0Mr. Bayley praises the novel C07 210 because:- C07 211 **[BEGIN INDENTATION**] C07 212 **[BEGIN QUOTE**] C07 213 |^Not only are the details of personal appearance and of town and C07 214 country landscape selected with a vividness and subtlety unmatched in C07 215 the James canon, but the physical nature of life is recorded with C07 216 unique emphasis. C07 217 **[MIDDLE OF QUOTE**] C07 218 *# 2012 C08 1 **[079 TEXT C08**] C08 2 *<*2BOOK REVIEWS*> C08 3 *<*4Raglan's Sorry Role in the Crimea*> C08 4 *<*7THE DESTRUCTION OF LORD RAGLAN: *5A Tragedy of the Crimean War. By C08 5 Christopher Hibbert. (Longmans. 30\0s.)*> C08 6 *<*4By *6RAYMOND MORTIMER*> C08 7 |^*4T*2HERE *0never was a Crimean War: the whole story must be the C08 8 invention of some satirist frantic with hatred for warfare and C08 9 aristocracy. ^So at least I felt more strongly than ever when reading C08 10 the book under review. ^Not that \0Mr. Hibbert denounces our C08 11 Government for feebly drifting into so unnecessary a war: his account C08 12 of its origins is restricted to three colourless pages, for he writes C08 13 as a military historian concerned only with the conduct of the C08 14 campaign. ^The picture that emerges is often, however, too horrid to C08 15 seem credible. C08 16 |^To vindicate Lord Raglan, the Commander-in-Chief, is his C08 17 purpose*- as it was Kinglake's; but Kinglake was animated also with C08 18 hatred of Napoleon *=3, with whose mistress he had been in love; and C08 19 \0Mr. Hibbert is not biased by frustrated desire. ^His book seems to C08 20 me far the most trustworthy account yet written of the Crimean C08 21 campaign. ^It is based upon vast research into unpublished material, C08 22 including not only the Raglan papers but hundreds of letters from C08 23 obscure fighting men. ^He quotes also from Russian books that have not C08 24 been translated. C08 25 *<*4Cowardly Government*> C08 26 |^*4T*2HE *0battles are described in great detail and illustrated C08 27 with the usual plans*- rectangles showing troop-positions among C08 28 vermiculated hills. ^Readers who share my distrust of such tactical C08 29 exegesis must not skip the superb account of Inkerman with its C08 30 hand-to-hand tussles in the fog. ^Unfortunately the author throws C08 31 little light upon the military departments at home, which with their C08 32 archaic incompetence and divided responsibilities were chiefly to C08 33 blame for the suffering of the troops. ^Otherwise he has been C08 34 admirably thorough; and the writing is lucid, correct and lively. C08 35 |^Our exceptionally pacific Government declared war only because it C08 36 had not the courage to resist the jingoism of the public and the C08 37 newspapers. ^The pretext was an invasion of what is now Rumania by C08 38 Russian troops, who were quickly expelled by the Turks with no help C08 39 from us. ^However, having sent an army as far as Turkey, we felt C08 40 something or other must be done with it, and the Crimean port of C08 41 Sebastopol seemed easy to capture. ^After over a year of fighting C08 42 captured it was, but with no lasting advantage to us or our allies. C08 43 ^The jaunt cost the lives of over half a million men. C08 44 |^Experienced Generals from our Indian Army were available, but C08 45 they did not belong to the nobility: and so the commands were given to C08 46 men who had seen active service, if at all, not less than thirty-nine C08 47 years previously. ^Two of them suffered from feeble eyesight; one C08 48 refused to wear spectacles. ^An officer could bring unlimited luggage, C08 49 his wife, his French cook, and a yacht to live in; there were not even C08 50 tents for the men, and what little equipment they were given was for C08 51 the most part shoddy, boots that fell to pieces, swords so soft that C08 52 they would bend instead of cutting. C08 53 *<*4Rotting Cargoes*> C08 54 |^*4T*2HOUGH *0we boasted far the largest navy and mercantile C08 55 marine in the world, these could not bring enough supplies for our C08 56 expeditionary force; and cargoes moreover were allowed to rot C08 57 unloaded. ^The two admirals were at odds with one another. ^The C08 58 commissioners in charge of supplies, when asked for a few nails, C08 59 refused to issue less than a ton. ^Half-starved and unprotected C08 60 against the Russian winter, our troops died in their thousands: lack C08 61 of fodder killed the horses and mules; there was no other transport. C08 62 ^The {0C.O.} of the Grenadiers would not allow a mere line regiment C08 63 to fight on the flank of his beautiful Guardsmen, who were therefore C08 64 compelled to retreat in disorder. C08 65 |^Officers like Lord Cardigan and Lord George Paget found the war C08 66 so disagreeable that they returned to England in a huff. ^Of course C08 67 no such escape was possible for the men, who at first fought with C08 68 staggering courage. ^Gradually those who survived grew bitter; the C08 69 reinforcements were for the most part raw recruits; morale collapsed. C08 70 ^In the final action at Sebastopol our troops refused the order to C08 71 advance; and the fortress was taken by the French, who throughout the C08 72 campaign had been better equipped, better fed and better led. C08 73 |^Worn out by his labours, insulted in Parliament and by the Press, C08 74 no longer supported by his Queen, Raglan had died three months C08 75 previously. ^A wiser man would not have accepted the command at the C08 76 age of sixty-five after forty years of sitting at a desk. ^He did C08 77 accept it, not from conceit but from a sense of duty. ^No one could C08 78 have been more courageous, more hard-working, more fair-minded, more C08 79 amiable. ^He behaved to the French with exemplary and invaluable C08 80 patience. ^But then he proved equally patient with the military C08 81 departments at home that were murdering his troops. ^He could not bear C08 82 to say an unkind word to anyone. C08 83 *<*4Creature of Habit*> C08 84 |^*4W*2E *0cannot refuse him our pity. ^He worked himself to death C08 85 at a Herculean task for which he was fitted by neither character nor C08 86 experience. ^We must remember at the same time that he had been for C08 87 the previous twenty-eight years Secretary at the Horse Guards C08 88 apparently without attempting any reform in the administration of the C08 89 Army. ^He was described by Palmerston as *"a creature of habit**"; and C08 90 in the Crimea he found himself a victim of the grotesque system he had C08 91 helped to maintain. ^The conservative who dislikes changes even when C08 92 they are improvements may, like Raglan, be a good man. ^He cannot be a C08 93 good Commander-in-Chief. C08 94 *<*6IRON DUKE ON PAPER*> C08 95 *<*6WELLINGTON AT WAR. *5Letters selected and edited by Anthony C08 96 Brett-James. (Macmillan. 42\0s.)*> C08 97 *<*4By *6SIR ARTHUR BRYANT*> C08 98 |^*4N*2OT *0even \0Dr. Johnson could hit a verbal nail on the head C08 99 more effectively than the Duke of Wellington. ^He once said that there C08 100 was nothing in life like a clear definition, and during his years of C08 101 command he was incessantly engaged in defining things clearly. ^It was C08 102 one of the qualities that made him so great a commander; as with C08 103 Field-Marshal Montgomery it was almost impossible to mistake his C08 104 meaning, however unpalatable. ^As the human capacity for getting the C08 105 wrong end of the stick, especially in the fog and confusion of war, is C08 106 almost infinite, this quality is an essential part of the military C08 107 art. C08 108 |^If good writing be the art of conveying meaning with the greatest C08 109 possible force in the fewest possible words*- and I can think of no C08 110 better definition*- Wellington was a very good writer. ^His military C08 111 correspondence, like his recorded conversation, is delightful reading. C08 112 | C08 113 |^*4*"I*2T *0is not very agreeable to anybody,**" he reminded a C08 114 complaining Portuguese magnate, *"to have strangers quartered in his C08 115 house; nor is it very agreeable to us strangers, who have good houses C08 116 in our own country, to be obliged to seek for quarters here. ^We are C08 117 not here for our pleasure; the situation of your country renders it C08 118 necessary.**" ^Could anything be neater? C08 119 |^Or anything more true than this? ^*"Half the business of the C08 120 world, particularly that of our country, is done by accommodation and C08 121 by the parties understanding each other.**" C08 122 |^Or this, quoted by \0Mr. Brett-James in his admirable C08 123 introduction*- ^*"I do not know how \0Mr. . . . has discovered that my C08 124 channels of intelligence are of doubtful fidelity. ^I should find it C08 125 very difficult to point out what channels of intelligence I have: but C08 126 probably \0Mr. . . . knows.**" C08 127 | C08 128 |^*4\0M*2R. BRETT-JAMES *0has done modern readers*- who turn to the C08 129 great classics of our past too little*- a service by producing a new C08 130 selection from Wellington's letters. ^Most of them are taken from C08 131 twelve volumes and two and a half million words of Colonel Gurwood's C08 132 *"Dispatches of the Duke of Wellington**" and from the fifteen volumes C08 133 of the Duke's *"Supplementary Dispatches.**" C08 134 |^I will not say that no better selection could have been made; C08 135 \0Mr. Brett-James's book does not compare, for instance, with the much C08 136 fuller selection made by Colonel Gurwood himself and published in C08 137 early Victorian days in a single volume of nearly a thousand pages. C08 138 ^In deference to the reading tastes of our day \0Mr. Brett-James's C08 139 compass is far smaller. C08 140 |^The truth is that at least a dozen selections of equal size, C08 141 equally good and equally representative, could have been made from the C08 142 same source. ^What matters is that the editor has given us the essence C08 143 of Wellington's genius*- his clarity, his good sense, his powers of C08 144 observation, his understanding of human nature, his dry irony, his C08 145 wonderful balance and foresight. ^It is like offering the reader a C08 146 small parcel of a superb cellar; it is all there for his buying if he C08 147 wants more. C08 148 |^I cannot help adding one sample of Wellington's style. ^He had C08 149 been approached about the return to England of a major whose fiance*?2e C08 150 was pining in his absence. C08 151 **[BEGIN INDENTATION**] C08 152 |^*"I cannot say that I have ever known of a young lady dying of C08 153 love. ^They contrive, in some manner, to live and look tolerably well, C08 154 notwithstanding their despair and the continued absence of their C08 155 lover; and some even have been known to recover so far as to be C08 156 inclined to take another lover, if the absence of the first has lasted C08 157 too long. ^I don't suppose that your *1\6prote*?2ge*?2e *0can ever C08 158 recover so far, but I do hope that she will survive the continued C08 159 necessary absence of the Major, and enjoy with him here-after many C08 160 happy days.**" C08 161 **[END INDENTATION**] C08 162 *<*7ADVICE FOR A LADY IN LOVE*> C08 163 *<*7TO A YOUNG ACTRESS: *5The Letters of Bernard Shaw to Molly C08 164 Tompkins. (Constable. 63\0s.)*> C08 165 *<*4By *6HESKETH PEARSON*> C08 166 |^*4F*2OR *0sheer entertainment and humorous common sense the C08 167 letters and criticisms of Bernard Shaw are unrivalled. ^Much of their C08 168 scintillation and gaiety is due to his emotional detachment from life, C08 169 and his peculiar genius derives from the fact that, being removed from C08 170 the complicated agitations of ordinary human beings, he could observe C08 171 with cool clarity the actions resulting from their temperamental C08 172 disturbances. C08 173 |^This oddity in his nature appears again and again in his letters C08 174 to women, who fell in love with him and had to be coaxed out of their C08 175 enraptured condition. ^One of them, a young actress named Molly C08 176 Tompkins, arrived in England from America with her husband and small C08 177 son, for the sole purpose of meeting the prophet Shaw, who sent her C08 178 well over a hundred letters and post-cards between 1921 and his death. C08 179 | C08 180 |^*"*4I*2S *0it not delightful, to be in love?**" he wrote to her; C08 181 *"it has happened to me twice. ^It does not last, because it does not C08 182 belong to this earth; and when you clasp the idol it turns out to be a C08 183 rag doll like yourself; for the immortal part *1must *0elude you if C08 184 you grab at it.**" ^But while he was content with dreams of fair C08 185 women, they were looking for something more corporeal, which he could C08 186 only supply by giving them excellent advice on how to order their C08 187 lives. C08 188 | C08 189 |^*4I*2N *0this handsome volume many of his letters to Molly C08 190 Tompkins are reproduced in photostat. ^With a few alterations carbon C08 191 copies could have been sent to any of his adoring female C08 192 correspondents without surprising them. ^They contain advice on such C08 193 matters as the disadvantage of an actress using make-up off the stage C08 194 and the advantage of using it when interviewing managers, on the C08 195 correct pronunciation of words, on how to behave as a mother and the C08 196 proper way to bring up a son, on the process of buying white oxen in C08 197 Italy, on the necessity in England of putting *"\0Esq.**" not C08 198 *"\0Mr.**" on envelopes addressed to men, on how to catch a bat, and C08 199 on the expediency of keeping a parrot instead of a dog: ^*"Parrots are C08 200 amusing, and never die. ^You wish they did.**" C08 201 |^Frequently in these letters his intuition or observation is C08 202 crystallised in a phrase, {0e.g.}, ~*"Learning to live is like C08 203 learning to skate: you begin by making a ridiculous spectacle of C08 204 yourself,**" and ~*"The fear of God may be the beginning of wisdom, C08 205 but the fear of Man is the beginning of murder,**" and ~*"It is C08 206 useless to try to help people whom God does not mean to be helped.**" C08 207 *# 2025 C09 1 **[080 TEXT C09**] C09 2 *<*7FICTION*> C09 3 *<*4Keeping The Beasts In Their Place*> C09 4 *<*4By *6NIGEL DENNIS*> C09 5 *<*2ANGUS WILSON, *4The Old Men at the Zoo. *0Secker & Warburg, 18\0s.*> C09 6 |^*"*4O*2UR *0island, it would appear, is too small to allow even C09 7 for the controlled return of the wolf, the bear and the boar.**" C09 8 |^So says the Times*- or rather, Angus Wilson makes the Times say C09 9 so in his new novel, which is set in London in 1970. ^There is no C09 10 reason to doubt that his sober, careful verdict on the danger of C09 11 *"open**" Zoos catches exactly the tone of the Times of 1970; but we C09 12 are left worrying about \0Mr. Wilson himself. ^He has written the C09 13 future *"editorial.**" ^He has written the present novel. ^Are they at C09 14 odds with one another? C09 15 |^The matter is mentioned because the puzzle of \0Mr. Wilson's new C09 16 novel is to know clearly what he is saying and where he is standing. C09 17 ^This was never a problem in \0Mr. Wilson's early days. ^His first C09 18 books of short stories were as clear as only crystals of poison can C09 19 be, and the horrors he held up to our inspection were almost too C09 20 recognisable to be faced. C09 21 |^But, since then, \0Mr. Wilson has widened both his medium and his C09 22 heart. ^He writes big novels now and expresses his griefs and pains C09 23 quite openly; he still has plenty of poison, but he doles it out with C09 24 a more distressed hand*- in brief, he is no longer a pure satirist. C09 25 |^One may mourn the change, but one has no right to condemn it. ^An C09 26 author should be allowed to change as he pleases: the only test is the C09 27 quality of the result. C09 28 |^*4The Old Men at the Zoo *0has much to commend it. ^It has been C09 29 written with great feeling and it has some very enjoyable characters C09 30 in it. ^It is also a very just book, in that the most absurd C09 31 characters are allowed their virtues and dignities. ^Even when it is C09 32 cross, angry and spiteful, it is still a kindly book. C09 33 |^The difficulty is to know exactly how to find one's way about in C09 34 it. ^The title suggests that it is about the English masses (who are C09 35 *"the Zoo**") and those who govern them (who are *"the old men**"). C09 36 ^If this is correct, then much of \0Mr. Wilson's symbolism becomes C09 37 easy to follow. ^We see clearly that if the Zoo is to be decently C09 38 conducted, those who govern it must do so unselfishly, intelligently C09 39 and civilisedly. C09 40 | C09 41 |^They must also realise that animals are tricky, even dangerous, C09 42 beasts, and must not feel sentimental about tarantulas and lynxes. C09 43 |^The chiefs of \0Mr. Wilson's Zoo lack most of these C09 44 qualifications. ^Some of them are idealists*- in the sense that they C09 45 are more obsessed with theories and dreams about animals than they are C09 46 with actual, living animals. ^Others of them love only those aspects C09 47 of the animal that suit their professional interests*- an extreme (and C09 48 witty) example is the Zoo pathologist, who loves animals most when C09 49 they are dead, dissection being his forte. C09 50 |^These persons, let us say, are the department chiefs and top C09 51 bureaucrats of our society*- and under them are the *"keepers**" and C09 52 *"assistant-keepers**" who carry out their orders. ^But above them all C09 53 are the Secretary and the Director*- men of nearly equal power who C09 54 frame Zoo policy and fight over what this policy should be; these two C09 55 we may call Prime Minister and Leader of the Opposition. C09 56 |^The clash of policy in \0Mr. Wilson's novel is over the Zoo of C09 57 the future. ^The Director hates Regent's Park: he believes that C09 58 animals must be given *"limited liberty**" and allowed to roam in C09 59 Whipsnadian reserves. ^The Secretary thinks this is nonsense. C09 60 ^Animals, he insists, are best off in the cosy, though somewhat C09 61 cramped, cages designed for them by the great Victorian, Decimus C09 62 Burton. C09 63 |^All this is most prettily done. ^\0Mr. Wilson's descriptions of C09 64 animals are first-rate*- particularly as he is most honest about them, C09 65 never pretending for a moment that some of them are extremely ugly. C09 66 ^And the problems these animals present are perfectly genuine ones: C09 67 should *"the wolf, the bear and the boar**" be allowed considerable C09 68 liberty, or is the Times right in concluding that they are too C09 69 dangerous to enjoy such privileges? C09 70 |^This problem becomes acutely personal to every reader when a C09 71 liberated wolf eats the Director's daughter. ^Thousands of innocent C09 72 animals have to pay for the wolf's indiscretion by being shut up in C09 73 Regent's Park again. ^Is this fair? C09 74 |^\0Mr. Wilson does not say whether it is fair or not. ^And by the C09 75 end of the book we realise that the puzzles and hypotheses which he C09 76 presents are honest expressions of his own uncertainty. ^His intention C09 77 is not to provide closed answers, but to proffer dozens of open C09 78 questions. C09 79 | C09 80 |^This is unusual and stimulating in theory, but tending to C09 81 confusion in practice. ^\0Mr. Wilson's novel, one feels, would have C09 82 been remarkably good if he had stuck strictly to the Zoo. ^Instead, he C09 83 has filled out his canvas of the future with a war in which England is C09 84 invaded and crushed by combined European armies (Russia and America C09 85 agree not to intervene). ^He has put in saboteurs, and spies, and C09 86 politicians, and resistance movements*- and by the time he has done he C09 87 has put in more matter than he can handle and made an artistic clutter C09 88 of his humane worries. C09 89 |^His novel is still a good one*- but the careful, precise pen of C09 90 the former short-story writer could have made his parable shorter, C09 91 clearer and far more brilliant. C09 92 *<*4People On The Move*> C09 93 *<*4By *6ANTHONY QUINTON*> C09 94 *<*2ALASDAIR CLAYRE, *4The Window, *0Cape, 16\0s.*> C09 95 *<*2IVY COMPTON-BURNETT, *4The Mighty and their Fall, *0Gollancz, C09 96 16\0s.*> C09 97 *<*2HOWARD SPRING, *4I Met a Lady, *0Collins, 21\0s.*> C09 98 *<*2*"{0H. D.}**", *4Bid Me to Live, *0Grove Press, 25\0s.*> C09 99 |^*4F*2OR *0topicality, Alasdair Clayre's first novel *4The Window C09 100 *0would stand out emphatically enough at any time beside this week's C09 101 other books; in the present condition of the world it is almost too C09 102 much. C09 103 |^The central figures are a decent, devout, inarticulate organist C09 104 in a poor district of Portsmouth, his frigid, respectable wife and C09 105 their sons, Peter, a trumpet-playing factory worker, and Matthew, a C09 106 pretty batman whose ambition is to be a butler. C09 107 |^Also involved are the step-children of the vicarage: James, an C09 108 elaborately cerebral philosopher, and Anna, a bemused, sensitive C09 109 pianist. ^The organist, Matthew and James get caught up, in different C09 110 ways and with fatal consequences for one of them, in the Easter March C09 111 of an idealistic organisation. C09 112 | C09 113 |^The narrative is developed with great skill and efficiency, the C09 114 point of view shifting from one of the main characters to another. ^In C09 115 its course \0Mr. Clayre conducts his readers on a convincingly C09 116 authoritative tour of a wide variety of pre-eminently contemporary C09 117 scenes: an assembly-line, an officers' mess, a jazz club, a left-wing C09 118 coffee-bar, a deb dance, as well as the March itself. C09 119 |^It is an impressively copious image of our society, but its C09 120 realism has the thinness of a cross-section. ^The Sands family are not C09 121 very plausible as a group; even the accelerated social mobility of our C09 122 time could hardly accommodate a son like Peter in such a family. C09 123 |^James is an Englishman's idea of a young Frenchman, and Matthew C09 124 seems to have been transferred from one of Simon Raven's amazing C09 125 regiments. ^There is a fairly sharp line between these and the C09 126 characters \0Mr. Clayre likes, the organist and Anna for example, who C09 127 are honoured with a less rigid and political treatment. ^But this is C09 128 an able and intelligent book whose limitations reflect the magnitude C09 129 of its ambitions. C09 130 |^*4The Mighty and their Fall *0is absolutely standard Ivy C09 131 Compton-Burnett, another elegant construction in moral geometry, C09 132 another variation on her insulated domestic theme with its normal C09 133 elements of dubious paternity, hidden wills, a despised governess, C09 134 gnomic servants and Hobbesian toddlers. C09 135 |^Experts could no doubt identify most of the characters and C09 136 situations with those of earlier books and even the less initiated can C09 137 see that this one involves no striking new departures. ^Miss C09 138 Compton-Burnett's curious instrument grates on some ears, but for C09 139 those who can stand it there is more to be got from it than the C09 140 incidental felicities to be discovered by brief dippings. ^Her books C09 141 should be read at a sitting if possible, since the plot and characters C09 142 are only revealed by the cumulative effect of the dialogue. C09 143 |^The centre of this novel is the struggle between a widowed father C09 144 and his eldest daughter who both resort to deceit, she to prevent his C09 145 second marriage, he to prevent her inheriting his brother's money. ^He C09 146 has a more impersonal justification in his concern for the continuing C09 147 welfare of the estate but it gives his response to exposure a more C09 148 blatant and so more discreditable quality. C09 149 |^Miss Compton-Burnett's vertiginous economies both of technique C09 150 and material have a charm of their own and there is a fascination in C09 151 what she manages to do with what is left; but they also reflect, as C09 152 much as Racine's, a judgment of importance, of what really matters in C09 153 the relations of human beings. C09 154 | C09 155 |^Howard Spring's *4I Met a Lady *0is, predictably and honourably, C09 156 a thoroughly good read*- the whole quarter of a million words of it. C09 157 ^A rambling, loose-jointed affair, it seems to be the result of C09 158 throwing a few human types together at random to see what would come C09 159 out. C09 160 |^The hero escapes from Manchester and cotton with an inheritance C09 161 that allows him to indulge his pronounced negative capability as a C09 162 writer of little essays. ^After a good deal of dithering he marries a C09 163 nice rich actress and what with her connections and the family of a C09 164 tycoon who unaccountably becomes his friend he has plenty to look in C09 165 upon and make harmlessly facetious remarks about. ^It is a C09 166 pleasant-spirited, old-fashioned book and pretends to do no more than C09 167 tell an only mildly engrossing story. C09 168 |^*"{0H. D.}**"'s *4Bid Me to Live, *0a small, handsomely-produced C09 169 volume, is described as *"a madrigal of war-time love and death in the C09 170 London of 1917.**" ^It recounts in short, hectic and often verbless C09 171 sentences the inner life of Julia Ashton, a sensitive American married C09 172 to Rafe, who spends his leaves in the bed of the girl upstairs. ^Julia C09 173 wrongly thinks that Frederick, a red-bearded author of *"scandalous, C09 174 volcanic novels**" married to an ample German aristocrat, is in love C09 175 with her. C09 176 |^The *1\6clef *0of this *1\6roman *0is ready to hand, and it bears C09 177 the imprint not, as the blurb says, of major literature, but of a C09 178 major *1\6litte*?2rateur. ^*0In its undisciplined artiness it is of a C09 179 piece with the odd, vanished world it obliquely describes. C09 180 *<*7IN BRIEF*> C09 181 *<*5By *7FELICIA LAMB*> C09 182 *<*5By The Danube*> C09 183 |^*4Family Jewels *2BY PETRU DUMITRIU, *0Collins, 21\0s. ^First C09 184 part of mighty trilogy about peasants revolting against landed gentry C09 185 in late 19th- and early 20th-century Rumania. ^Formidable amassing of C09 186 detail gives interesting picture of Bucharest and Danube plain life. C09 187 ^All gentry characters unpleasant, all peasant ones unattractive, but C09 188 the whole enjoyable once difficult beginning surmounted. C09 189 |^*4A Man on the Roof *2BY KATHLEEN SULLY, *0Peter Davies, 15\0s. C09 190 ^Two sprightly elderly ladies try to escape ghost of husband of one of C09 191 them and recapture youth and freedom in their flight. ^Charming C09 192 fantasy told with perfect light touch. ^Delightful surprise ending. C09 193 |^*4The Silent Speaker *2BY NOEL STREATFEILD, **[SIC**] *0Collins, C09 194 16\0s. ^Neatly-constructed whydunit. ^Members of unexpected suicide's C09 195 last carefree dinner party all dig into her apparently blameless past. C09 196 ^Skilful maintenance of suspense right up to not-too-unlikely C09 197 solution. ^Modern rich Londoners well observed. C09 198 |^*4Every Night and All *2BY WILLIAM MILLER, *0Blond, 16\0s. ^Young C09 199 Glaswegian on the run from his native slums finds London can mean C09 200 luxury*- at an unpleasant price. ^Convincing Glasgow beginning tails C09 201 off into forced, happy, socialistic ending, excusable from 27-year-old C09 202 author. ^Bad characters good, good characters bad. C09 203 |^*4Children in Love *2BY MOIRA VERSCHOYLE, *0Hodder, 15\0s. C09 204 ^Glamorous worldly-wise 17-year-old disrupts backwoods Anglo-Irish C09 205 family and turns perfect boy-and-girl friendship into unhappy C09 206 adolescent triangle. ^Tragic ending to a golden summer in well-evoked C09 207 Irish Far West. ^Perfect companion to a box of chocolates. C09 208 |^*4The Slap *2BY MARION FRIEDMANN, *0Longmans, 15\0s. ^Grim C09 209 exploration situation in small South African country town. C09 210 *# 2010 C10 1 **[081 TEXT C10**] C10 2 *<*6THE WORLD OF MUSIC*> C10 3 *<*4A Drastic Way with Verdi*> C10 4 * C10 5 |^*4T*2HE *0score of *"Falstaff**" seems to have ripened against a C10 6 warm orchard wall. ^It is all juice and goodness, firm flesh and sweet C10 7 tang: at once earthy and heavenly, mellow and zestful, old and young. C10 8 ^This is one of music's miracles; and the miracle was achieved by C10 9 Boito's cunning and Verdi's genius upon the basis of an effective but C10 10 prosaic Shakespearean farce. C10 11 |^Franco Zeffirelli's new production, unveiled at Covent Garden C10 12 last Wednesday, was eagerly awaited after his romantic *"Lucia**" and C10 13 his wonderfully brilliant *"Cav**" and *"Pag**" at the same house*- C10 14 not to mention his more controversial *"Romeo and Juliet**" at the Old C10 15 Vic. ^His *"Falstaff,**" though likely to prove a hit, is again C10 16 controversial. ^Visually, it is inventive and often lovely. C10 17 ^Dramatically, it is a hotchpotch: imaginative, eccentric, frequently C10 18 crude. C10 19 | C10 20 |^*4T*2HE *0worst comes near the beginning. ^If you can accept the C10 21 short opening scene between Falstaff and his followers, the evening C10 22 has no further terrors for you. ^The style here is that of the Crazy C10 23 Gang, though without their sublime impudence; for if \0Messrs. C10 24 Naughton and Gold had played Pistol and Bardolph, they would at least C10 25 have stormed the Royal Box and tried on a tiara. ^Michael Langdon and C10 26 Robert Bowman could only rampage and roister around the stage, though C10 27 *"only**" is a poor word, for they achieved a good deal. ^For C10 28 instance, Geraint Evans's admirable delivery of the Honour tirade was C10 29 effectively diminished when to each one of Falstaff's rhetorical C10 30 questions Bardolph, from beneath a table or halfway up the stairs, C10 31 insisted on nodding a tireless and zany affirmative. C10 32 |^Thence to Ford's garden, a sort of inn courtyard: striking. C10 33 ^Enter two letter-carrying Wives (Mariella Angioletti and Josephine C10 34 Veasey), a Dutch-doll Nannetta (Mirella Freni) and... but who is this, C10 35 sweeping in, last and grandest, like a beruffed Lady Bracknell, with C10 36 parasol at the slope and lorgnettes at the ready? ^Can it be our old C10 37 friend \0Mrs. Quickly, servant to \0Dr. Caius and Eastcheap hostess? C10 38 ^Of course, she runs the entire show; the only surprise is that she C10 39 didn't get a letter too. ^If so wild a misinterpretation can be C10 40 tolerated, she is capitally sung and played by the exuberant Regina C10 41 Resnik. C10 42 |^That \0Mrs. Ford hardly got a look in was to some extent the C10 43 fault of Signora Angioletti, who on the first night continually C10 44 allowed her phrases to vanish in mid-utterance as though the current C10 45 had been cut off. ^The explanation can hardly be a failure of voice, C10 46 for a few bars later all was well again; I fear it must have been Art. C10 47 | C10 48 |^*4I*2N *0the second act things began to improve, although \0Mrs. C10 49 Quickly's famous deep curtseys on the word *"\Reverenza!**" were C10 50 turned into nonsense by having to be executed on a staircase. ^Best of C10 51 all was the great scene between Ford and Falstaff, where no misplaced C10 52 ingenuity was allowed to impair our pleasure in the excellent singing C10 53 of John Shaw and \0Mr. Evans and in the brilliant and zestful playing C10 54 of the orchestra under Signor Giulini. ^The orchestra was throughout C10 55 in splendid form; particularly at the quiet end of Act *=3, Scene 1, C10 56 where the empty stage and darkening sky, the calling of the distant C10 57 voices, the magical chain of descending harmonies and the slowly C10 58 closing curtains were combined by producer and conductor into an C10 59 exquisite theatrical unity. C10 60 |^The tapestried interior of Ford's house made a delightful C10 61 spectacle, and the final scene opened in a vein of high romance, with C10 62 pale shafts of moonlight striking across the forest glade; but on the C10 63 arrival of the fairies Herne's Oak split asunder and soared aloft, C10 64 never to be seen again. ^We found ourselves back in the inn C10 65 courtyard*- but a courtyard transformed into such a dream-pageant as C10 66 might have been conjured up by a Chagall given unlimited funds to C10 67 stage a party for \0Mr. Bestegui or \0Mr. Onassis. C10 68 |^Somewhere in the course of all this*- the clowning and the C10 69 prettiness, the slapstick and whimsy and phantasmagoria*- Verdi's C10 70 simplicity and honesty have fallen by the wayside. ^But the C10 71 compensations are great, especially on the musical side*- and I fear C10 72 it is the kind of showy production that makes such a phrase seem C10 73 natural. ^Great pleasure is given by Luigi Alva and Signora Freni as C10 74 the young lovers. ^Signor Giulini excels in the purely lyrical music, C10 75 and the details are always handled with loving care; where breadth and C10 76 robustness are demanded he is sometimes less happy. ^\0Mr. Evans C10 77 continues to ripen and improve his distinguished Falstaff, but we C10 78 cannot expect to see this impersonation at its best until it figures C10 79 within a less confusing framework. C10 80 | C10 81 |^*4T*2HE *0Welsh National Opera Company began an enterprising week C10 82 of opera at Sadler's Wells with two much earlier Verdi operas: the C10 83 *"Nabucco**" of 1842 and *"{La Battaglia di Legnano}**" of 1849. C10 84 ^Both were accompanied by the Bournemouth Orchestra and conducted by C10 85 Charles Groves with no very marked feeling for the appropriate style. C10 86 ^*"Nabucco**" was in all essentials the production that has been seen C10 87 in London twice before, but it is now distinguished by a new Abigail C10 88 (Elizabeth Vaughan) who tackled her very difficult music with C10 89 remarkable aplomb and accuracy, if she can enrich her timbre she might C10 90 go far. ^Both operas are full of stirring choral scenes, sung C10 91 vigorously but with a faulty sense of legato by the Welsh choir. C10 92 |^Drastic treatment was again meted out to Verdi in *"{La C10 93 Battaglia di Legnano,}**" which lost all connection with what the C10 94 Press statement called *"a rather dated incident in the 12th C10 95 century**" and was lugged forward into modern times by John Moody, to C10 96 become an episode of the Italian Resistance during the German C10 97 occupation. ^Modern diction and ways of thought were, however, not C10 98 consistently adopted. ^In one of Verdi's furious cabalettas (husband C10 99 discovering wife's supposed infidelity) ~*"{Trema! trema! coppia C10 100 esecrata!}**" became ~*"Damn you! damn you! pair of dirty liars!**"; C10 101 but when the wife popped a compromising letter into her *"bosom**" C10 102 (standard post-box for operatic missives), it instantly *"stung her C10 103 like a serpent.**" C10 104 |^Notwithstanding such quaint distractions, the power and the C10 105 beauty of Verdi's invention in the last two acts could be perceived. C10 106 ^The best singing came from Heather Harper. C10 107 |^The Welsh Opera continues to deserve our gratitude, but could C10 108 learn much in the way of vocal style from a surprisingly vocal C10 109 performance of Rossini's *"Otello**" by the Philopera Circle at \0St. C10 110 Pancras on Friday, about which I hope to add a word or two next week. C10 111 *<*6WELSH NIGHT*> C10 112 |^*4Between *0them, Cardiff and \0St. Pancras ensure that not a C10 113 note written by Verdi remains unheard in London. ^Meanwhile, thanks to C10 114 the Welsh National Opera Company for bringing, if only for a single C10 115 May night, another Rimsky-Korsakov opera to Sadler's Wells, a theatre C10 116 which knew *"Snow Maiden**" and *"Tsar Saltan**" in pre-war days. C10 117 |^*"May Night,**" a folksy precursor of the more sophisticated C10 118 orientalisms of *"Sadko**" and *"The Golden Cockerel,**" proved a C10 119 happy choice, with the pleasing voices of John Wakefield (Levko), Iona C10 120 Jones (Anna) and Heather Harper (Queen of the Roussalki) well-suited C10 121 to its melodic grace. ^The male topers, too, Harold Blackburn, Laurie C10 122 Payne and Stephen Manton, entered into the spirit of the piece, but C10 123 not Phyllis Ash Child's completely un-shrewish Sister-in-law. C10 124 |^Sally Hulke's sets and John Moody's production, like the chorus, C10 125 provided more acceptable contributions than the Bournemouth Symphony C10 126 Orchestra, whose neat rhythmic response to Charles Makerras's C10 127 conducting was too often wide of the mark in pitch. C10 128 |^Boito's *"Mefistofele**" remains the Company's most imaginative C10 129 production. ^Triumphing ingeniously over space, it depicts Heaven and C10 130 a Witches' Sabbath as successfully as Faust's study. ^Raimund Herinex C10 131 has, again, the right voice and manner for the Prince of Evil, but C10 132 rejuvenation brings Tano Ferendino's Faust no increased vocal C10 133 confidence. ^Under Warwick Braithwaite the orchestra recovered pitch, C10 134 while sagging intonation crossed the footlights, weighing heavier on C10 135 the angelic chorus of the Prologue than their golden wings. C10 136 |^*6{0F. A.} C10 137 *<*6BALLET*> C10 138 *<*4By *6RICHARD BUCKLE*> C10 139 *<*4What Every Guru Knows*> C10 140 |^O*2N *0Wednesday night, when my pampered colleagues were borne in C10 141 their capacious palanquins either to*- Zeffirelli's (Verdi's C10 142 [Shakespeare's])*- *"Falstaff**" or to see those onychophorous C10 143 ootocoids at the Fortune, this Cinderella among critics made his way C10 144 alone and on foot to watch Indian dancing at La Scala in Charlotte C10 145 Street. C10 146 | C10 147 |^*4N*2OW, *0though I would not go as far as to agree with the C10 148 programme that the technique of Kamala, the eldest of the three C10 149 sisters performing, *"is in the \5enveable position of being above C10 150 controversy,**" she has learnt some of Bharata Natya and she gets by. C10 151 ^Radha and Vasanti are graceful, too. ^It is how their brother \0Mr. C10 152 Kumar got on stage that beats me*- unless, of course, he is really C10 153 Peter Sellers. ^From his performance, I guessed that, watching his kid C10 154 sisters perfecting themselves in their art, he suddenly couldn't bear C10 155 not to be in on it too, and finally forbade them to appear without C10 156 him. ^There can be no doubt that, like Romeo Coates, he believes C10 157 utterly in his mission. ^*"Dance inspires him ceaselessly to strive C10 158 higher and higher towards the shining pinnacle of perfection that is C10 159 the goal of every Artiste.**" C10 160 |^Kathak, with its swift spins, is what bedizened boys used to C10 161 dance before Mogul Emperors. ^\0Mr. Kumar rashly did it stripped to C10 162 the waist, his long hair arranged in an untidy bird's-nest. ^He never C10 163 got up much speed, and made few turns. ^What he did do was to fix us C10 164 with a basilisk stare, make odd pointing gestures and keep improvising C10 165 for about twenty minutes. ^A polite attempt to drive him offstage with C10 166 a burst of applause only spurred him to go on and on. C10 167 |^Eventually his attention wandered from his work, and his eye hit C10 168 on a ground mike near the footlights. ^He had a bright idea. ^He C10 169 stopped dancing, pulled the mike upstage and, indicating his anklets C10 170 of bells, told us ^*"Now I will make you hear one bell*- just one C10 171 bell, not four hundred.**" ^Starting with the full carillon (if C10 172 someone had not turned off the mike we should have been deafened) he C10 173 went into a shuddering Antonio-type diminuendo. ^Even so I heard not C10 174 *1one *0bell, but at least six. ^Then he started dancing again. C10 175 | C10 176 |^*4T*2HE *0able drummer, the flautist who was *"a worthy disciple C10 177 to the great living Flute Wizard Sri {0T. R.} Mahalingam, *'Mali to C10 178 his innumerable fans**',**" and the nice lady singer who let it be C10 179 known that she was *"married to \0Mr. Narian who was a dancing partner C10 180 to the Veteran Dancer \0Mr. Ramgopal**" seemed embarrassed. ^And I C10 181 exchanged looks with a neighbour who happened to be a one-year-old C10 182 (yes) Indian boy in a white fur coat. C10 183 *<*6RECORDS*> C10 184 *<*4Hands and Feet*> C10 185 * C10 186 |^*4R*2ECORDING *0companies no longer neglect the King of C10 187 Instruments, and the recent spate of organ records reflects the C10 188 younger and more discriminating organ fanciers' demands for C10 189 authenticity of timbre and interpretation. C10 190 |^The fascination as well as the bugbear of the organ is that no C10 191 two are alike in specification or sound, so that discs of organ music C10 192 played on the very instrument for which it was conceived deserve an C10 193 especial welcome. ^Some, of course, remain curiosities rather than C10 194 performances: Widor was an octogenarian when he recorded his toccata, C10 195 the organist's warhorse, at Saint-Sulpice. ^Now, his pupil and C10 196 successor, Marcel Dupre*?2, himself in his seventies and a pioneer of C10 197 organ records, has re-recorded it there in a coupling with Widor's C10 198 fifth and *"Gothic**" symphonies which shows how well his master C10 199 *"scored**" for his beloved Cavaille*?2-Coll instrument. C10 200 ^(Westminster*- mono only.) C10 201 | C10 202 |^*4M*2ERCURY *0issue five discs of Dupre*?2 at Saint-Sulpice, of C10 203 which two are of particular interest, \0Vol. 2 consisting entirely of C10 204 his own music, and \0Vol. 5 which also includes *"{Les bergers},**" C10 205 by his one-time pupil Olivier Messaien. ^Noisy surfaces, but the right C10 206 kind of noise behind them. C10 207 |^Another Dupre*?2 pupil, the Belgian Flor Peeters, has recorded C10 208 some pre-Bach organ music from North Germany and the Netherlands on C10 209 the Schnitger rebuild **[SIC**] at \0St. Michael's, Zwolle. ^Clearer C10 210 music and a clearer sound. ^A splendid record. ^({0HMV}*- mono.) C10 211 *# 2001 C11 1 **[082 TEXT C11**] C11 2 *<*6THAT NOVEL BY THE TUTOR IN MORAL PHILOSOPHY RAISES AN INTRIGUING C11 3 QUESTION*> C11 4 *<*5Why has this face appeared among the best-sellers?*> C11 5 *<*4The *6BOOK PAGE*- *4by *6ROBERT PITMAN*> C11 6 **[ILLUSTRATION**] C11 7 |^P*2ERHAPS *0you recognise that heavy and somewhat sullen face on C11 8 the left. ^If you are fond of being in the fashion you certainly ought C11 9 to. C11 10 |^For weeks now those thick-lidded and decidedly untwinkling eyes C11 11 have stared out at the readers of a succession of heavy literary C11 12 magazines and review pages. ^For weeks the owner of the face has had C11 13 her name at the top of the list of best-selling novelists. C11 14 |^She is Miss Iris Murdoch, tutor in moral philosophy at \0St. C11 15 Anne's College, Oxford; wife of \0Mr. John Bayley, a fellow don; and C11 16 author of *6A SEVERED HEAD, *0which was published in June amid a loud C11 17 cooing of intellectual approval. C11 18 |^Miss Murdoch is the author of several books. ^Yet suddenly, with C11 19 her fifth novel, she has been sifted out by the priests of culture for C11 20 their own honours list. ^Her name has acquired an almost visible halo. C11 21 |^For those who wish to impress, it can now be plopped confidently C11 22 into a conversation like French seasoning upon a salad. C11 23 |^Soon those who cannot quite afford Scandinavian cutlery or C11 24 furniture from Heals will have the latest Iris Murdoch in their C11 25 sitting-rooms instead. C11 26 |^And soon, no doubt, an interviewer from the {0B.B.C.} programme C11 27 *"Monitor**" will be leading {0TV} cameras around Miss Murdoch's C11 28 house at Steeple Aston outside Oxford with the awed, hushed tread C11 29 appropriate to a cathedral. C11 30 *<*7DEGENERATE*> C11 31 |^*0Yet, despite all this attention, no one has mentioned the C11 32 really outstanding characteristic of Miss Murdoch's new novel. C11 33 |^It is not its style, which is often pretentious and sometimes a C11 34 little lame. C11 35 |^It is not its characters, which are unbelievable, nor its C11 36 background, which is inaccurate and unreal. C11 37 |^It is the fact that this story from the Oxford Moral Philosophy C11 38 Department is, by the standards of most people, utterly degenerate. C11 39 |^That is an epithet I rarely use on this page. ^Even when it is C11 40 justified the best criticism is usually silence. ^There are too many C11 41 booksellers, not all by any means in the back streets, who gloat over C11 42 condemnation of their wares with the relish with which some film C11 43 distributors greet an *"X**" certificate. C11 44 |^Yet *1A Severed Head *0has already been given its *"X**" by the C11 45 mandarin reviewers. ^Their coy or leering references to its plot have C11 46 kept it selling well for weeks on end. ^I do not feel it out of place C11 47 to offer a corrective. C11 48 *<*7PLEASED*> C11 49 |^*1A Severed Head *0is the story of a wine merchant named Martin C11 50 Lynch-Gibbon. ^We meet him first of all watching his mistress, Georgie C11 51 Hands, while (*1*"with a tense demure consciousness**" *0of his gaze) C11 52 she draws on the peacock-blue stockings which Lynch-Gibbon has given C11 53 her. C11 54 |^Lynch-Gibbon is pleased with life. ^His wife Antonia, though a C11 55 few years older than he is, is beautiful, intellectually stimulating*- C11 56 and knows nothing about Georgie. ^Then, piece by piece, Lynch-Gibbon's C11 57 complacency is shattered. C11 58 |^Antonia falls in love with her American psychiatrist and goes to C11 59 live with him. ^The psychiatrist's ugly but mysterious half-sister, C11 60 Honor Klein, also upsets Lynch-Gibbon by finding out about Georgie and C11 61 telling Antonia. C11 62 |^A penitent Lynch-Gibbon is severely rebuked by his wife and her C11 63 psychiatrist lover for deceiving them over Georgie. ^Then Lynch-Gibbon C11 64 has a fight with Honor Klein in a cellar *1(*"she came against me with C11 65 both hands pushing and clawing, and endeavoured to drive her knee into C11 66 my stomach.**"). C11 67 |^*0After this encounter, Lynch-Gibbon decides that he is C11 68 fascinated with the rather repellent Miss Klein. ^He goes to her house C11 69 in Cambridge, gets in through an open door, and finds her in bed with C11 70 her psychiatrist half-brother. C11 71 |^Before the book ends Georgie gives herself first to C11 72 Lynch-Gibbon's brother, Alexander, and then to the psychiatrist. C11 73 ^Antonia leaves the psychiatrist for her brother-in-law Alexander. C11 74 ^And Lynch-Gibbon is left with the incestuous, slightly-moustached C11 75 Miss Klein. C11 76 |^I should also mention that in addition to all these humourless C11 77 couplings Lynch-Gibbon suffers from a homosexual liking for the C11 78 psychiatrist too. C11 79 |^Such is the novel which \0Mr. Cyril Connolly greeted as *1*"a C11 80 heaven-sent gift**" *0and which led \0Mr. Alan Pryce-Jones to exclaim C11 81 ~*1*"She triumphs,**" *0and \0Mr. Kenneth Allsop, the *"Tonight**" C11 82 interviewer, to give as his judgment: ^*1*"She has the rare universal C11 83 eye of the great novelist.**" C11 84 |^*0Which, I believe you will decide, is all my rare universal eye C11 85 and Betty Martin. C11 86 *<*7SO WRONG*> C11 87 |^*0True, the praise has not been unrelieved. ^\0Mr. Connolly C11 88 himself pointed out that Miss Murdoch, having chosen a wine merchant C11 89 as a hero, goes wrong over almost every detail concerning wine. C11 90 |^\0Mr. Philip Toynbee, with some justice, wrote: ^*1*"Though she C11 91 does not wish us to admire any of the characters, except Honor, she C11 92 does demand of us a credulity, a sympathy, and a concern which I have C11 93 found quite impossible to give.**" C11 94 |^*0\0Mr. Peter Forster likened Miss Murdoch's dialogue to Ethel C11 95 \0M. Dell. ^Yet the striking thing is that none of these critics C11 96 challenged Miss Murdoch's novel on moral grounds. C11 97 |^I would not ask them to denounce it as pornography. ^*1A Severed C11 98 Head *0is not pornography. C11 99 |^It is so stuffed with turgid and often meaningless symbolism that C11 100 only an extreme masochist could drive himself to read it for the C11 101 kicks. ^Nor is it propagandist as *1Lolita *0was. ^It does not enthuse C11 102 over incest or homosexuality. C11 103 |^It does not enthuse. ^It does worse*- it merely yawns. C11 104 |^It enshrines the bored and disgusted-by-nothing attitude of that C11 105 shallow but influential clique which dominates the literary weeklies C11 106 and the {0B.B.C.} Brains Trust and which tries to make normal, C11 107 human, shockable people feel like country cousins or like the *"pi**" C11 108 little boys who dare to remain mute while the rest of the dormitory is C11 109 giggling over dirty stories. C11 110 |^The critics who praised *1Lolita *0defended the author's moral C11 111 notions. ^But there was no such defence of Miss Murdoch*- the critics C11 112 were so sophisticated that they saw nothing which needed defending. C11 113 |^The Observer wrote: ^*1*"She is serious, Leftish, and C11 114 high-minded, with a sharp brain tempered by good sense: an English C11 115 university seems just the right background for her.**" ^*0But is C11 116 *"high**" the most apt word for Miss Murdoch's mind? C11 117 |^For this is not her only puzzling novel. ^In her often C11 118 brilliantly funny second book, *1Flight from the Enchanter, *0Rosa, a C11 119 sensible upper-middle-class young lady, befriends two Poles whom she C11 120 meets in a factory. ^She teaches them English in their sordid room in C11 121 Pimlico while their aged mother, lying on a mattress on the floor, C11 122 looks on. C11 123 |^Occasionally the brothers dance round the mother or prod her with C11 124 their feet. ^One cries: ^{3*1*"You old rubbish! ^You old sack! ^We C11 125 soon kill you, we put you under floorboards, you not stink there worse C11 126 than here!**"} C11 127 *<*7WATCHING*> C11 128 |^*0One day Rosa goes to meet the brothers and finds only one of C11 129 them, Stefan, waiting for her. ^He takes her to the room where he C11 130 says: ^{3*1*"We make love now, Rosa. ^It is time.**"} C11 131 |^*0*"Your mother!**" exclaims Rosa, noticing the old lady's C11 132 watching eyes. C11 133 |^{3*1*"She not see, not hear,**"} *0is the reply. C11 134 |^The next day Rosa finds only the other brother, Jan, waiting. ^In C11 135 the room at Pimlico, Rosa asks: ^*"You know about Stefan?**" C11 136 |^Jan replies sternly: ^{3*1*"Of course. ^And now is me.**"} C11 137 |^*0Of this incident one critic has written:*- C11 138 |^*1*"This whole episode is a brutal commentary on the equivocal C11 139 nature of pity: the revulsion of feeling which an unequal relationship C11 140 inspires.**" C11 141 |^*0It may be, of course, that the stud-farm entanglements of Miss C11 142 Murdoch's latest book are also a brutal commentary on something's C11 143 equivocal nature. C11 144 |^Unfortunately, if they are, even Miss Murdoch's most C11 145 distinguished admirers seem unable to discover exactly what that C11 146 something is. C11 147 |^Miss Murdoch's publishers claim that *1A Severed Head *"is as C11 148 exciting as Treasure Island.**" C11 149 |^*0In the ultra-sophisticated society in which comparisons like C11 150 that can be made and in which people like Miss Murdoch are not just C11 151 the rebels but the *1teachers, *0it is little wonder that the young C11 152 are occasionally more interested in yellow golliwogs than in the works C11 153 of old squares like {0R. L.} Stevenson. C11 154 *<*6DISTURBING*- THIS NOVEL ABOUT A TOP TORY*> C11 155 |^N*2OW *0for another disturbing novel. ^It is *6THE MINISTER C11 156 (*1Hamish Hamilton, 16\0s.) *0by Maurice Edelman, the suave, C11 157 culture-loving and luxuriantly good-looking {0M.P.} who represents C11 158 the car-workers of Coventry North. ^\0Mr. Edelman has himself made an C11 159 intense study of British political novels. C11 160 |^To literary societies he has lectured in languorous tones about C11 161 John Galt, who wrote *1The Borough *0(subject: political jobbery) in C11 162 1832, and about {0A. E. W.} Mason, best-known for *1The Four C11 163 Feathers *0but also the author of *1The Turnstile *0(based on Mason's C11 164 own brief career as Liberal {0M.P.} for Coventry). C11 165 |^Now, in *1The Minister *0I believe that Edelman has produced a C11 166 novel which itself deserves a very high place indeed in the roll of C11 167 political fiction. C11 168 |^It is certainly the novel which I have enjoyed most in 1961. C11 169 *<*5A reservation*> C11 170 |^*0It tells how Melville, a Tory Minister, achieves the aim of C11 171 every Tory Minister. ^He becomes Tory Prime Minister. ^But his public C11 172 triumph is hollow since he has simultaneously discovered that his C11 173 plain but well-loved wife has also allowed herself to be well loved by C11 174 his own brother and perhaps by other friends as well. C11 175 |^Set against this theme is the story of how Melville, having said: C11 176 *1*"I want the African to be my brother,**" *0adds in an indiscreet C11 177 whisper, *1*"but not my brother-in-law.**" C11 178 |^*0The pretty lady at whom the indiscretion is directed is the C11 179 mistress of an Opposition Leader. ^Duly circulated and printed in the C11 180 Press, it stirs riots in Africa and almost wrecks Melville's career. C11 181 |^Why do I call the novel disturbing? ^It is not because of C11 182 Edelman's approach to morals which*- unlike Miss Murdoch's*- is both C11 183 adult and real. C11 184 |^No, the disturbing thing about *1The Minister *0is that far from C11 185 being artificial, it too often rings frighteningly true. C11 186 *<*5No malice*> C11 187 |^*0For it portrays a Tory leadership whose aim, above all, is to C11 188 be free from any supposedly naive, old-fashioned notions about C11 189 patriotism or Empire or national greatness. ^A leadership which thinks C11 190 it oh-so-civilised and cultured to be just a little weary and cynical C11 191 about everything. C11 192 |^Socialist Edelman does not present this portrait with political C11 193 malice. ^Indeed, it is clear that, despite his Coventry connections C11 194 the Melville attitude is his attitude too. C11 195 |^But I must draw attention to one fairy-tale element in this C11 196 otherwise true-to-life novel. ^In avoiding any appearance of party C11 197 prejudice, Edelman goes so far as to put epigrams*- yes, actual C11 198 *1epigrams*- *0into the mouths of everyday Tory back-benchers. C11 199 *<*6FROM A NEW BOOK, AN INTRIGUING ACCOUNT OF LIFE IN THE LAND OF C11 200 MISTS*> C11 201 *<*4The sad, macabre tale of the bride they called Miss Fuegia Basket*> C11 202 *<*6THE BOOK PAGE*> C11 203 *<*4by *6ROBERT PITMAN*> C11 204 |^J*2UST *0north of the seas that surge and shriek round Cape Horn, C11 205 the land mass which we call America tails away in a region of mist, C11 206 sleet, and death. ^The people who live there, scratching a bare living C11 207 from the rocks or wading into the ice-cold surf to collect limpets, C11 208 are still among the most wretched on earth. C11 209 |^Not long ago their life was even more desolate. ^In Britain today C11 210 it is fashionable to discuss the problem of old age. ^During the last C11 211 century it was reported that the people north of Cape Horn had solved C11 212 the problem of what to do with the old folk. C11 213 |^In times of famine *1they ate them. C11 214 |^*0It is not surprising, therefore, that out of that sleet and C11 215 mist comes one of the saddest and most macabre little stories that I C11 216 have ever read. C11 217 |^I take it from *6THE WONDERS OF LIFE ON EARTH *0by the Editors of C11 218 *1Life *0and Lincoln Barnett *1(Prentice-Hall, 70\0s.). ^*0You would C11 219 be wrong to shudder at the price. ^For a family with a budding C11 220 biologist in its midst the book is more than worth it. C11 221 |^In wonderful photographs and paintings it parades the bizarre C11 222 quirks of evolution*- such as the dawn-flying silk moth, with its C11 223 absurdly long wing-filaments which rustle while it flies. C11 224 |^The filaments act like the tin-foil dropped by bombers to deceive C11 225 radar. C11 226 *# 2010 C12 1 **[083 TEXT C12**] C12 2 *<*6A UNIQUE TONE OF VOICE*> C12 3 *<*5The Complete Poems of Cavafy.*> C12 4 *<*4Translated by Rae Dalven. 234\0pp. Hogarth Press. 25\0s.*> C12 5 |^*0Any new translation of Cavafy is to be welcomed, especially C12 6 when it claims to be *"complete**"*- and no doubt it is complete in C12 7 the sense that it covers all those poems which have so far been C12 8 published in Greek. ^The previous collection in English, translated by C12 9 Professor Mavrogordato, has long been difficult to acquire. ^Thus this C12 10 new work fulfils an important need. C12 11 |^Some of Cavafy's most celebrated and most characteristic poems C12 12 were written as early as 1911 and he wrote poems in every subsequent C12 13 year until his death in 1933. ^To English readers he was first C12 14 introduced by {0E. M.} Forster, who, in his *1Pharos and Pharillon, C12 15 *0published in 1923, wrote a witty and affectionate description of the C12 16 poet in which occur the significant words *"...a Greek gentleman in a C12 17 straw hat, standing absolutely motionless at a slight angle to the C12 18 universe**". ^And one is inclined to say that the *"slight angle**" C12 19 implies more than eccentricity (and Cavafy was certainly eccentric); C12 20 it reminds one, too, of the {*1leve clinamen} *0of Lucretius*- the C12 21 slight deviation from the regular which is at the root of all C12 22 creation. C12 23 |^For one of the first things which strikes one about Cavafy is C12 24 that he is unique. ^This is a point well made by \0Mr. Auden in his C12 25 introduction when he writes: ^*"I have read translations of Cavafy C12 26 made by many different hands, but every one of them was immediately C12 27 recognizable as a poem by Cavafy; nobody else could possibly have C12 28 written it.**" ^This does not mean, of course, that all translations C12 29 of Cavafy are equally good; but it does mean that it is almost C12 30 impossible to translate him in a way that is positively misleading. C12 31 ^The authentic voice is certain to come through. C12 32 |^The present translation by Miss Rae Dalven is no exception to the C12 33 rule. ^Sometimes one may deplore a certain insensitivity to rhythm, C12 34 and sometimes one may wish that Miss Dalven had been more ambitious*- C12 35 had attempted, for instance, to reproduce the rhyme which Cavafy uses C12 36 in many of his poems. ^But on the whole the work is careful and exact. C12 37 ^What \0Mr. Auden calls Cavafy's *"unique tone of voice**" is C12 38 everywhere recognizable. ^It is not so gracefully represented as in C12 39 the translations of Professor Mavrogordato, but in quantity this C12 40 volume has the advantage over the earlier one. C12 41 |^It is unfortunately doubtful whether the reader will be greatly C12 42 helped by \0Mr. Auden's introduction. ^Early on in this \0Mr. Auden C12 43 comes to the odd conclusion that *"if the importance of Cavafy's C12 44 poetry is his unique tone of voice, there is nothing for a critic to C12 45 say, for criticism can only make comparisons**". ^This, certainly, C12 46 does not prevent \0Mr. Auden from going on himself for seven closely C12 47 printed pages, which contain few *"comparisons**". ^But the pages are C12 48 not very illuminating. ^Much more sensitive and thorough studies are C12 49 to be found in Sir Maurice Bowra's *1The Creative Experiment *0and in C12 50 \0Mr. Sherrard's *1The Marble Threshing Floor. ^*0These writers are C12 51 aware that one function of criticism is to explain and they avoid such C12 52 nearly meaningless statements as, ^*"Cavafy has three principal C12 53 concerns: love, art, and politics in the original Greek sense**". ^Is C12 54 it the politics of Homer, of Pericles, of Aristotle? ^Nothing could be C12 55 more remote from Cavafy than any of these. ^What is in fact the case C12 56 is that he was concerned with a view of a Greek's place in history, a C12 57 view which was peculiarly his own and which has been found by his C12 58 contemporaries and successors in the Greek tradition peculiarly true C12 59 and enlightening. ^It is a view taken from *"a slight angle to the C12 60 universe**", but is none the less accurate for that. C12 61 |^Nearly the whole of Cavafy's life was spent in Alexandria. ^This, C12 62 as can be seen when one knows Cavafy, was a fitting background. ^It C12 63 was the city founded by Alexander the Great, the city where he was C12 64 buried, the city above all symbolical of the diffusion of Greek C12 65 language and culture from the Indus to the far west. ^Of other Greek C12 66 cities only Athens and Constantinople have equally powerful C12 67 associations, and the worlds of Alexandria and Constantinople are, of C12 68 course, utterly different from the world of fifth-century Athens. ^It C12 69 was out of the world of the Greek dispersal that Cavafy created his C12 70 personal mythology*- a world both of triumph and disaster, a world of C12 71 courage, of humour and of irony. ^Cavafy was the first modern Greek C12 72 poet who contrived to be patriotic without being romantic, and his C12 73 method was to stand at *"a slight angle**" to what is assumed to be C12 74 the universe of history. ^His favourite subjects are from Antioch, C12 75 Alexandria, Byzantium, or from Greek states already subjugated to C12 76 Rome. ^These are themes which we, in our normal classical education, C12 77 are encouraged to regard as *"decadent**"; and indeed so strong is C12 78 prejudice that one will still find people who will apply the adjective C12 79 *"decadent**" to Cavafy's poetry. ^It is therefore refreshing to find C12 80 such a critic as Sir Maurice Bowra, who writes: *"...respect for human C12 81 courage and character is perhaps Cavafy's most characteristic note**". C12 82 |^The same gentle understanding and forceful irony are to be found C12 83 in the poems that deal with love (always homosexual love). ^Here again C12 84 \0Mr. Auden does not help our understanding when he writes: ^*"The C12 85 erotic world he depicts is one of casual pickups and short-lived C12 86 affairs.**" ^These are sometimes part of the theme, but from such C12 87 things emerges a splendour of which \0Mr. Auden seems unaware. ^Has he C12 88 not read *"Myres**" or *"The Mirror in the Hall**"? C12 89 |^However, Cavafy can speak, and has spoken, for himself. ^He has C12 90 been the greatest influence from the past on contemporary Greek poetry C12 91 and has already influenced poets in many other languages. ^His C12 92 complete sincerity, his angular stance, his tenderness that is C12 93 combined with the accuracy of a surgeon, his awareness of the past in C12 94 the present and of the present in the past, his meticulousness, his C12 95 grandeur*- these are some of the qualities which no reader can fail to C12 96 observe and which, singly and together, make him one of the greatest C12 97 writers of our times. C12 98 *<*6REBELS WITH A PEN*> C12 99 *<*2BRUCE INGHAM GRANGER: *1Political Satire in the American C12 100 Revolution, 1763-1783. *0314\0pp. Cornell University Press. London: C12 101 Oxford University Press. 40\0s.*> C12 102 |^The American Revolution produced some first-class writing of the C12 103 solemn and more dignified types. ^Burke on one side of the Atlantic, C12 104 Jefferson on the other, rose to the height of the great argument. ^But C12 105 judging from the samples quoted in this learned and interesting book, C12 106 there were no comic equivalents of Jefferson or even of Thomas Paine C12 107 at work in North America during these twenty years. ^\0Dr. Granger C12 108 has gleaned most thoroughly and has classified various types of C12 109 political satire in a sensible fashion. ^But with the possible C12 110 exception of Franklin, none of the writers he exhumes is of great C12 111 interest today or deserves anything but historical respect. ^Even C12 112 Hopkinson, even Trumbull are dim figures and *1M'Fingal *0is a C12 113 burlesque much more completely forgotten than *1Hudibras. ^*0From the C12 114 point of view of American literary history, one of the chief types of C12 115 interest in this book is the evidence it furnishes of the close C12 116 imitation of English models, of Butler, Swift, Addison, and the C12 117 contemporary Charles Churchill. C12 118 |^The versifiers do not display a high degree of technical C12 119 competence. ^They are, however, bold in the use of rhyme to a degree C12 120 that would astonish \0Mr. Ogden Nash. ^Thus, one poetaster rhymes C12 121 *"mouse**" with *"\1sous**", treating *"\1sous**" as a singular noun. C12 122 ^Even the comparatively competent Trumbull writes: C12 123 **[BEGIN QUOTE**] C12 124 |^Behold that martial Macaroni, C12 125 |Compound of Phoebus and Bellona. C12 126 **[END QUOTE**] C12 127 |^The prose writing seems vastly superior. ^Arbuthnot's *1History C12 128 of John Bull *0was imitated with some success, and Franklin managed C12 129 adroitly the humorous atrocity story suggesting that the ministerial C12 130 troops should castrate the American males. ^It is possible, however, C12 131 that the editors of the great new edition of Franklin's works will not C12 132 accept all the identifications made here. C12 133 |^The themes reflect the controversies of the age. ^The Quebec Act C12 134 with its threat of popery provoked a great deal of irrelevant C12 135 indignation. ^The Royalists were inclined to sneer at the low social C12 136 origins and vulgar ambitions of the rebel leaders, and Franklin's C12 137 reputed irreligion laid him open to attack. ^The rebel propagandists C12 138 became increasingly hostile to the king and scornful to the royal C12 139 representatives, civil and military. ^The alleged amorous propensities C12 140 of these representatives of the Crown were duly noted. ^Their morals C12 141 as well as their good faith were impugned. ^Hessians, Irish, Welsh C12 142 were assailed as well as the universally unpopular Scots. C12 143 |^This is a useful and a mildly entertaining book, although its C12 144 author does not show that mastery of the political background C12 145 displayed by Professor Arthur \0M. Schlesinger, \0Sr., in his recent C12 146 investigation of revolutionary propaganda. ^It is probably useless to C12 147 protest against the failure to give the Howe brothers their proper C12 148 titles. ^And the complicated history of George Sackville may excuse C12 149 the fact that he appears as Lord Germain, a title he never held. C12 150 *<*6IN DEFENCE OF LAWRENCE*> C12 151 *<*2{0F. J.} TEMPLE: {0*1D. H.} Lawrence. *0237\0pp. Paris: C12 152 Seghers. 12 {0N.F.}*> C12 153 |^It is not difficult to imagine how Lawrence's habitual and often C12 154 very outspoken frankness together with his almost incredible C12 155 confidence in his own insights aroused the resentment of many of those C12 156 whom he knew. ^(It is true that in his preface to \0M. Temple's C12 157 biography \0Mr. Richard Aldington claims that he personally bore no C12 158 grudge at all for the home truths he was asked to swallow. ^He reminds C12 159 his French readers of Rimbaud's obscene parting rites in the home of C12 160 an acquaintance and explains that Lawrence's own ungrateful mocking of C12 161 those who had helped him was only to be expected in a great artist.) C12 162 ^Someone as courageous as Lawrence in following the promptings of his C12 163 own intuition is bound to inspire the jealousy or the envy of those C12 164 who are more timorous and conventional and it is probably for this C12 165 reason that so few of his critics, whether or not they have known him C12 166 personally, have been capable of a truly disinterested assessment of C12 167 his character and genius. C12 168 |^\0M. Temple's short study of the life and works is on the whole C12 169 eulogistic and he defends Lawrence vigorously against some of the C12 170 charges that have been brought against him in the past: that he was a C12 171 precursor of Nazism, that he sentimentalized the noble Mexican savage, C12 172 that he suffered from the neuroses described in Murry's *1Son of Woman C12 173 *0and that he earned money to which he was not entitled by publishing C12 174 Maurice Magnus's *1Memoirs. ^*0It is only occasionally that he gives C12 175 the impression of not wanting to sound too impressed, as, for example, C12 176 when he mentions in passing the numerous (unspecified) C12 177 \*1pue*?2rilite*?2s *0in Lawrence's daily life and in many of his C12 178 books. ^\0M. Temple makes good use of the available biographical C12 179 information. ^He also quotes lengthily and well from Lawrence's C12 180 letters. ^If one is forced to conclude that he seriously misrepresents C12 181 both the life and the work of Lawrence it is not therefore because he C12 182 is swayed by any deep prejudice or because of any particular C12 183 inaccuracy (his worst inaccuracy is to describe Ursula in *1The C12 184 Rainbow *0as Tom Brangwen's daughter). C12 185 |^The principal defect of this book is that it is written in a C12 186 style which will convey to the reader little or nothing of the C12 187 resemblances between Lawrence's inner life and his own: C12 188 **[LONG FOREIGN QUOTATION**] C12 189 |^\0M. Temple writes in cliche*?2s and in doing so not only C12 190 distorts the essential biographical facts but attributes cliche*?2s of C12 191 thought and expression to Lawrence. C12 192 *<*6DEFIANT GESTURES*> C12 193 *<*2ALFRED MARNAU: \*1Ra"uber-Requiem. *0123\0pp. Salzburg: Otto C12 194 Mu"ller. {0DM}. 10.90.*> C12 195 |^*0Alfred Marnau, who was born in Bratislava in 1918 and has lived C12 196 in England since before the war, shares with Rilke and Kafka the C12 197 distinction of having origins which seem to escape national C12 198 boundaries. ^Like them he also makes of German his own language, which C12 199 seems hammered out, a medium suggesting sheets of gold leaf. C12 200 *# 2004 C13 1 **[084 TEXT C13**] C13 2 *<*6SEARCHER FOR ATLANTIS*> C13 3 |^*"I *2LOOKED *0down on the blackness where trees filled the C13 4 quarry and the valley bottoms, and it seemed that the world, my own C13 5 home-world, was strange again.**" C13 6 |^Much of Lawrence is suggested by that one sentence from his C13 7 earliest novel, *1The White Peacock. ^*0His own home-world dominates C13 8 the novels up to *1Women in Love, *0is the setting of many of the C13 9 tales, and is the world to which he returns in *1Lady Chatterley. C13 10 ^*0It is described with a faithfulness that makes Lawrence impressive C13 11 simply as the recorder of a social scene, but his art, even in the C13 12 autobiographical *1Sons and Lovers, *0is such as to render the C13 13 familiar original and mysterious. ^This power to make the known world C13 14 *"strange again**" is part of his inheritance from the great C13 15 Romantics. C13 16 |^The excessive amount of attention at present being given to his C13 17 treatment of the sexual relationship (bringing us perilously close to C13 18 what Lawrence himself despised as *"sex in the head**") must not be C13 19 allowed to obscure the more fundamental truth that he was the latest, C13 20 and the most compelling, writer in the English Romantic tradition. C13 21 ^Coleridge's definition of the secondary imagination, with its stress C13 22 on the transmutation of experience by an essentially creative process C13 23 into something of visionary freshness, can be taken as an exact C13 24 description of Lawrence's art; and the most illuminating parallel to C13 25 the symbolic passages of *1The Rainbow *0and *1Women in Love, *0in C13 26 which this visionary quality is most apparent, are the moments of C13 27 revelation in such poems as *1Resolution and Independence *0and *1The C13 28 Prelude. C13 29 |^*0This, if not precisely the theme of the collection of essays C13 30 and reminiscences about {0D. H.} Lawrence edited by Professor Moore, C13 31 is the underlying truth which they most serve to impress upon the mind C13 32 of the reader. ^It is consciously there in \0Mr. Herbert C13 33 Lindenberger's *"Lawrence and the Romantic Tradition**" and probably C13 34 because of this his essay is the one which seems most consistently and C13 35 most satisfyingly relevant to the actual effects created by Lawrence's C13 36 poems and novels. ^But the frequency with which the contributors to C13 37 \0Mr. Moore's *1Miscellany *0resort to discussion of symbol and myth C13 38 in Lawrence's work also draws its justification from the almost C13 39 Wordsworthian preoccupation with *"unknown modes of being**" and C13 40 *"Fallings from us, vanishings**" that give Lawrence his distinctively C13 41 Romantic quality. ^\0Mr. Angelo \0P. Bertocci, for example, picks his C13 42 way very carefully through the mass of overlapping symbolism in C13 43 *1Women in Love *0to demonstrate how Lawrence's imagination expands C13 44 the details of his story in ever widening arcs of significance, and he C13 45 borrows from \0Mr. {0R. A.} Foakes the term *"image of impression**" C13 46 to describe the mode of this symbolism, so linking it with the poetry C13 47 of Shelley, Keats, Coleridge and Wordsworth. ^\0Mr. Jascha Kessler, in C13 48 *"The Myth of *1The Plumed Serpent**", *0interprets Kate's progress C13 49 towards acceptance of Ramon's Quetzalcoatl cult in terms of the C13 50 primitive ritual pattern of *"separation*- initiation*- return**", and C13 51 two other contributors see in Lawrence's use of birds in various parts C13 52 of his work a conscious remoulding of primitive ritual. C13 53 |^Such comment is legitimate, but it needs the check of a more C13 54 inclusive, and at the same time more strictly literary, response. C13 55 ^Myths as such draw their power from psychological sources and depend C13 56 upon the existence of a socio-religious culture to which no modern C13 57 writer has real access (though he may imagine that he has). ^His use C13 58 of myth, whether he wishes it to be so or not, can therefore be only C13 59 part of a larger artistic purpose. ^*1The Plumed Serpent *0is an C13 60 excellent case in point. ^\0Mr. Kessler claims that his analysis of C13 61 this novel makes *"all the politics and religious demagoguery**" seem C13 62 irrelevant compared with *"the drama of the hidden primal mythic C13 63 adventure it subserves**". ^Criticism has been misguided and has C13 64 underestimated the book because it has *"seized upon the superficial C13 65 content of the novel and confused it with the story it is really C13 66 telling**". ^But it was precisely because the *"primal mythic C13 67 adventure**" could not form the total substance of a novel that C13 68 Lawrence was driven to invent the paraphernalia of a political and C13 69 religious movement led by Ramon which \0Mr. Kessler rightly regards as C13 70 superficial. ^It is impossible to *"rescue**" the myth from the novel. C13 71 ^One is left with something which the modern reader inevitably finds C13 72 too thin, too remote, too reminiscent of the world of fairytale; it C13 73 will not stand on its own. ^Yet neither will it stand on the C13 74 matchboard stage that Lawrence has contrived for it. ^Without the C13 75 reality of a fully created novelistic world the myth is itself C13 76 superficial and unconvincing. C13 77 |^In placing Lawrence within the Romantic tradition \0Mr. C13 78 Lindenberger does not make this mistake. ^He begins his essay by C13 79 making the important distinction between what he calls the *"novel of C13 80 social relations**"*- which is, in effect, the novel as it has usually C13 81 displayed itself in English literature, from Jane Austen to Miss Iris C13 82 Murdoch*- and the *"symbolist novel**" or *"romance**". ^Lawrence, of C13 83 course, belongs to the latter class, and from here \0Mr Lindenberger C13 84 goes on to a discussion of Lawrence's Romanticism, the importance of C13 85 which has already been stressed. ^But, he then argues, it could be C13 86 said that: C13 87 **[BEGIN QUOTATION**] C13 88 |^Lawrence in his best work was able to fuse the two traditions, C13 89 and it may well be that his contribution to the history of the novel C13 90 will be seen in his success in instilling the dominant strain of C13 91 English fiction with the essentially poetic materials of the romantic C13 92 tradition. C13 93 **[END QUOTATION**] C13 94 |^This argument is just and in the correct sequence; it puts the C13 95 emphasis in the right place. ^The glimpses of *"unknown modes of C13 96 being**" are the most arresting and the most memorable things in C13 97 Lawrence's novels, but he is aware that when a novel is given over C13 98 entirely to the Romantic experience it ceases to be a novel. ^Nor is C13 99 it true to say that the traditional material serves as a foil to set C13 100 off the episodes in which Lawrence is more deeply engaged. ^The finest C13 101 of his *"symbolist novels**", *1The Rainbow *0and *1Women in Love, C13 102 *0are also his most substantial achievements in realism. ^As social C13 103 history they are already unrivalled, and their characters (in spite of C13 104 the now famous letter to Edward Garnett in which Lawrence states that C13 105 ~*"You mustn't look in my novel for the old stable *1ego *0of the C13 106 character**") are characters in the good old-fashioned sense of the C13 107 word. ^Above all, his power to render environment in language that not C13 108 merely describes but re-creates it (\0Mr. Mark Schorer writes of this C13 109 in his contribution to the *1Miscellany, *0*"Lawrence and the Spirit C13 110 of Place**") embeds the Romantic experience in a solid world of C13 111 sensuous particularity. ^In these novels there is no question of an C13 112 inner meaning being the true purpose to which the surface of the novel C13 113 is irrelevant. ^They are coherent wholes. ^The unknown penetrates and C13 114 fuses with the known to form an indivisible artistic unity. C13 115 |^Lawrence the novelist is perhaps now beginning to get his due. C13 116 ^The same cannot yet be said for Lawrence the poet. ^Miss Dallas C13 117 Kenmare has written a small study of {0D. H.} Lawrence, which is in C13 118 fact a study of the poetry, but one weakness of that book is its C13 119 unwillingness to recognize the tough, pawky, realistic side of C13 120 Lawrence expressed in *"Pansies**" and *"Nettles**". ^Even \0Mr. C13 121 Alvarez, whose essay in *1The Shaping Spirit *0(here reprinted by C13 122 Professor Moore) is undoubtedly the best thing yet written on C13 123 Lawrence's poetry, seems reluctant to give the blunt, sardonic quality C13 124 its full value. ^He comments excellently on *"Red Geranium and Godly C13 125 Mignonette**": ~*"There is neither a jot of pretentiousness in the C13 126 poem, nor of vulgarity, though the opportunity for both certainly C13 127 offered**", yet he seems to want to dignify it*- oddly enough, by C13 128 suggesting that it is a poem of wit which, like Donne's, is *"a C13 129 manifestation of intelligence**". ^This is a minor aberration, C13 130 however. ^The most important aspect of Lawrence's realism, his C13 131 *"complete truth to feeling**", is thoroughly grasped by \0Mr. C13 132 Alvarez, and the essential effect of balance*- the balance of the C13 133 sharply aware, never half-asleep, whole man*- created by Lawrence's C13 134 flexibly colloquial language is something which this essay argues so C13 135 persuasively as to leave the greatness of Lawrence's poetic C13 136 achievement beyond doubt. C13 137 |^What Lawrence owed to his working-class background has received C13 138 some attention in recent years, but not enough. ^The facts are there C13 139 in Professor Moore's own biography of Lawrence, *1The Intelligent C13 140 Heart. ^*0Their full significance has yet to be appreciated. ^Two C13 141 items in the *1Miscellany *0have some bearing on this*- C13 142 unintentionally supporting one another. ^The first is a letter from C13 143 Katherine Mansfield to {0S. S.} Koteliansky describing a row between C13 144 Lawrence and Frieda at Zennor in 1916. ^Katherine Mansfield is shocked C13 145 and bewildered: ^*"It seems to me so *1degraded*- *0so horrible to see C13 146 I can't stand it.**" ^(Actually, it reads like a particularly violent C13 147 farce. ^Lawrence beats Frieda and chases her round the kitchen table, C13 148 but the next day gives her breakfast in bed and trims her hat.) C13 149 |^The second is a reprinting from *1Culture and Society *0of \0Mr. C13 150 Raymond Williams's essay on *"The Social Thinking of {0D. H.} C13 151 Lawrence**". ^\0Mr. Williams's cool remark that comment on C13 152 working-class life *"tends to emphasize the noisier factors**" C13 153 inevitably throws one back to the Katherine Mansfield letter. ^Frieda, C13 154 of course, was a German aristocrat, and by 1916 Lawrence had come a C13 155 good way from Eastwood, but is it not possible that their middle-class C13 156 friends were witnessing in these open rows the continuance of a C13 157 different tradition? ^At any rate, \0Mr. Williams is certainly right C13 158 in his comment that in working-class life (of Lawrence's childhood, if C13 159 not of our day) *"the suffering and the giving of comfort, the common C13 160 want and the common remedy, the open row and the open making-up, are C13 161 all part of a continuous life which, in good and bad, makes for a C13 162 whole attachment**", and the relevance of this to Lawrence's own C13 163 treatment of personal relations hardly needs comment. C13 164 |^No one, however, is as good, or as prolific, a commentator on C13 165 Lawrence as Lawrence himself, and such an immense amount of this C13 166 commentary is stored away in *1Phoenix *0that its reappearance now C13 167 after many years of being out of print is a happening of some C13 168 importance. ^*1Phoenix *0is itself a miscellany, unplanned, yet C13 169 unified as no other miscellany could be, by the personality of C13 170 Lawrence himself. ^Some of the things it contains are of rare quality, C13 171 some interesting for what they add to our understanding of Lawrence's C13 172 *"philosophy**", some are comparatively trivial pieces; but what C13 173 matters even more than their individual merits is the cumulative C13 174 effect which they achieve when brought together in this way. ^The sum C13 175 even of the novels and poems is greater than the parts, but the C13 176 existence of a collective meaning, subtly influenced by the presence C13 177 of the author (which is always felt in Lawrence's work), can be more C13 178 easily perceived in the sum of *1Phoenix. C13 179 |^*0The parts can be exasperating. ^Lawrence's hectoring manner in C13 180 *1Democracy *0grates on the reader, and there are times when his C13 181 bullying repetitions become insufferable. ^The incantatory style of C13 182 *1The Reality of Peace *0is nauseating, and though it is a relief to C13 183 turn to the bluff no-nonsense of *1Education of the People, *0this C13 184 sounds after a while like wilful crudeness. ^Yet overriding these C13 185 defects is the sense that here is an essentially fine and original C13 186 intelligence*- an energy that drives towards real understanding, as C13 187 against the neat and clever formulations that are so often passed off C13 188 for understanding. ^One's irritation evaporates. C13 189 |^There is much talk in *1Phoenix *0of the *"blood-consciousness**" C13 190 through which Lawrence sought salvation from the debilitating effects C13 191 of twentieth-century self-consciousness. ^Sometimes in his hatred of C13 192 its evils he seems to want to sweep away the whole of modern science C13 193 and technology. ^The *"Autobiographical Fragment**" strongly suggests C13 194 the influence of William Morris's *1News from Nowhere. ^*0But when he C13 195 is saying more precisely what he means Lawrence makes it clear that C13 196 the labour-saving machine is a public benefactor: ^*"Now there is a C13 197 railing against the machine, as if it were an evil thing. C13 198 **[MIDDLE OF QUOTE**] C13 199 *# 2014 C14 1 **[085 TEXT C14**] C14 2 *<*5New Books (continued)*> C14 3 *<*6PROGRESS IN SCIENCE*> C14 4 *<*2SCIENCE SURVEY *=2. *0Edited by {0A. W.} *2HASLETT *0and *2JOHN C14 5 \0ST. JOHN. *0Vista Books. 30\0s.*> C14 6 |^A year ago the first volume in this series successfully C14 7 established the pattern which is here continued. ^The editors ask some C14 8 20 to 30 working scientists to report on the progress made in selected C14 9 and limited fields which are their particular concern. ^They appear C14 10 grouped together, three or four at a time, under more general heads, C14 11 with some useful cross references and a good index; each short chapter C14 12 contains suggestions for further reading. C14 13 |^Very little knowledge of the subject under discussion is C14 14 presupposed, though in spite of its clarity this could not be a C14 15 *"popular**" work for people innocent of all scientific training. ^It C14 16 seems aimed in particular at the sixth-former beginning to specialize, C14 17 who ought to be given every chance to read such first-hand accounts of C14 18 the advances made in subjects whose dead past is already all too C14 19 familiar from the text-books. ^In his Foreword Professor Le Gros Clark C14 20 puts it explicitly: C14 21 **[BEGIN INDENTATION**] C14 22 **[BEGIN QUOTE**] C14 23 |^Today, when the demand for more and more recruits in the C14 24 different branches of science has become so insistent, it is of the C14 25 highest importance that the interest of potential scientists should be C14 26 early aroused by having accounts of current trends in scientific C14 27 research presented in a readily intelligible style. C14 28 **[END QUOTE**] C14 29 **[END INDENTATION**] C14 30 *<*6FUTURE EFFECT*> C14 31 |^*0Surveys such as these at regular intervals may well have a real C14 32 effect on the future through their power to draw the attention of C14 33 young scientists to interesting fields of activity. C14 34 |^Only a brief account of the contents is possible here. ^Two C14 35 articles on astronomy deal in turn with stellar evolution and the C14 36 determination of stellar distances. ^Curiously the only contribution C14 37 to pure physics is a description of recent tests of the particular and C14 38 general theories of relativity. ^Then come articles about the possible C14 39 ways in which mountain ranges were built up, and magnetic methods of C14 40 testing the theory of continental drift. ^These are particularly C14 41 stimulating because little can be taken for granted in sciences at so C14 42 complex and unsettled a stage. C14 43 *<*6DEEP WATER*> C14 44 |^*0After the earth come the oceans, with observations of the sea C14 45 floor and of currents. ^A study of plant life in the sea makes the C14 46 transition to connected articles on the chemistry of plants, and C14 47 accounts of work on the transmission of nerve impulses and the C14 48 physiology of muscular activity. ^A section on psychology, *"brain and C14 49 mind**", treats of the improvement with practice of the ability of C14 50 animals to learn, the measurement of human mental qualities, their C14 51 localization in areas of the brain, and the effect of the newer drugs C14 52 on behaviour. ^This is a particularly controversial area in which C14 53 scientists easily stray beyond their competence, and there are one or C14 54 two remarks, such as *"whereas the taking of alcohol has always been C14 55 regarded as a social and moral question, the giving of drugs, C14 56 irrespective of their consequences, must always primarily be a medical C14 57 responsibility**", which certainly demand further discussion. C14 58 |^We return to solid scientific ground with the assessment of noise C14 59 annoyance, the strength of materials, metal fatigue, and materials for C14 60 use at high temperatures. ^Altogether this is a useful piece of work, C14 61 which has increased our debt to the British Association. C14 62 *<*6THE REAL FRANCE*> C14 63 *<*2{VILLAGE EN VAUCLUSE}. *0By *2\0L. WYLIE *0and *2\0A. C14 64 BE*?2GUE*?2. *0Harrap. 18\0s.*> C14 65 |^This is a shorter version, in French, by \0M. Armand Be*?2gue*?2, C14 66 of a much longer American sociological study compiled by \0Mr. C14 67 Laurence Wylie of Harvard University, using the *"field**" techniques C14 68 of sociology, anthropology and psychology, applied during \0Mr. C14 69 Wylie's year's stay in 1950 with his wife and two sons in a village C14 70 which he calls Peyrane. C14 71 *<*6DEEP STUDY*> C14 72 |^*0He presents not a dull statistical treatise nor a light C14 73 surface-skimming digest, but an examination in depth including C14 74 {0e.g.} the basic principles of French education and comparative C14 75 family budgets. ^Nor does he neglect the individual and his C14 76 psychological reactions*- the village grocer's tirade against *1{la C14 77 famille nombreuse} *0coming to her shop for credit and the returned C14 78 deportee's judgment on the Maquis are but two examples of vivid C14 79 reportage. ^There are two maps, an adequate vocabulary and intelligent C14 80 questions in French at the end of each chapter. ^The author's many C14 81 excellent photographs make an integral and illuminating contribution C14 82 to this attempt to give students *"a valid picture of contemporary C14 83 French life and to show how a group of French people live from day to C14 84 day**". C14 85 |^This is a fascinating book, from the evocative drawing on its C14 86 title-page to its valuable final chapter, *"{Peyrane en 1959}**", C14 87 written after further visits, recording the changes brought by C14 88 tractors, television and main drainage and providing a useful C14 89 corrective to so many nostalgic pictures of a *"quaint**" C14 90 old-fashioned France. ^It merits inclusion in any modern-languages C14 91 library and could be a stimulating basis for a non-literary sixth-form C14 92 course or a good adult class. C14 93 *<*6OXFORD PAPERBACKS*> C14 94 |^*0Martin Cooper's *1French Music, *0a study covering the period C14 95 from the death of Berlioz to the death of Faure*?2, has now been C14 96 issued as an Oxford Paperback (Oxford University Press, 7\0s. 6\0d.). C14 97 ^Ernest Barker's *1Principles of Social and Political Theory *0(price C14 98 7\0s. 6\0d.) and {0C. K.} Allen's *1Law in the Making *0(price C14 99 10\0s. 6\0d.) are among other additions to the series. C14 100 *<*6REVIEWS IN BRIEF*> C14 101 *<*2CALDERO*?2N: {LA VIDA ES SUEN*?4O}. *0Edited by {0*2A. E.} C14 102 SLOMAN. *0Manchester University Press. 8\0s. 6\0d.*> C14 103 |^This edition, with Introduction and Notes by Professor {0A. E.} C14 104 Sloman, fulfils the need for a new, modern text of the play. ^It is C14 105 based on the text in the 1636 edition of *1{La Primera Parte de C14 106 Comedias} *0and takes into account the two *1\Parte *0texts of 1640, C14 107 the Vera Tassis edition of 1685 and the Zaragoza version of 1636. ^It C14 108 thus makes use of, as no previous edition has done, all the known C14 109 texts of the play. ^Professor Sloman has brought spelling up to date, C14 110 except where this would involve changes in pronunciation, accentuation C14 111 and capitalization. C14 112 |^In the Introduction he has covered every aspect of the play under C14 113 the headings of Date, Sources, Structure and Theme, Language and C14 114 Metres, Staging and Texts. ^Although the scholarly thoroughness with C14 115 which every point is treated would satisfy the more advanced and C14 116 ardent student, the clear and concise manner in which the material is C14 117 presented makes it interesting and easily digestible for the general C14 118 or less ambitious reader. ^In particular, the subject of Structure and C14 119 Theme is discussed very fully, with frequent references to the play C14 120 itself, and including brief comments on all the characters. C14 121 ^Throughout, he indicates Caldero*?2n's subtlety as a dramatist. ^A C14 122 list of books is provided for further reading on the subject under the C14 123 headings of *"Caldero*?2n in general**" and *"Recent criticism of {La C14 124 Vida es Suen*?4o}**". C14 125 |^The Notes, as Professor Sloman himself remarks, are concerned in C14 126 part with the most interesting of the variant readings he has C14 127 considered, and also contain comments on classical allusions, passages C14 128 which present difficulty in comprehension, and differences between C14 129 Caldero*?2n's vocabulary and syntax and those of present-day Spanish. C14 130 ^For further assistance, a short index of annotated words and names is C14 131 included. C14 132 |^In addition to these considerations the high quality of paper and C14 133 printing, and the low cost (contributed to by a rather flimsy cover) C14 134 make the book admirably suited to school use. ^It is certain to C14 135 commend itself quickly to the notice of the examining boards. C14 136 *<*2SNORKEL DIVER. *0First Steps in Underwater Swimming. By {0R. B.} C14 137 *2MATKIN *0and *2{0G. F.} BROOKES. *0Macdonald. 12\0s. 6\0d.*> C14 138 |^This is a book with plenty of enthusiasm for a sport that has C14 139 gained rapidly in popularity. ^Few people would attempt to take up C14 140 underwater swimming without an experienced companion to guide them and C14 141 they would be ill-advised to try but here they will learn most of the C14 142 pleasures the sport has in store; how to practise in a swimming bath; C14 143 and how to remain completely safe. C14 144 |^Many people must have been excited by the thrills and perils of C14 145 \0M. Cousteau's *1Silent World *0or been urged to explore the shallow C14 146 fringes by Miss Rachel Carson's *1The Sea Around Us *0only to be left C14 147 the feeling that this was beyond them. ^If they swim at all some of C14 148 the pleasures could be had without the dangers. ^For although snorkel C14 149 diving is not to be confused with using an aqualung it is proper C14 150 introduction to it and it is within everybody's means. ^Anyone who C14 151 swims can learn to use the simple equipment to get more fun out of his C14 152 bathing. ^Even a comparative beginner can try underwater photography. C14 153 |^The book is small and unpretentious but not dull and it could C14 154 encourage many young readers to take the plunge. C14 155 *<*2PRACTICAL INORGANIC AND ORGANIC PROBLEMS. *0By *2\0M. BROWN. C14 156 *0Longmans. 4\0s. 9\0d.*> C14 157 |^It is true, as the author says, that practical chemistry in C14 158 schools consists largely of volumetric and qualitative analysis, at C14 159 the examination stage. ^It is also true that this does little more C14 160 than provide training in manipulation, coupled with some knowledge of C14 161 reactions. ^The theme here is to give a number of problems which can C14 162 be solved by carrying out prescribed reactions, followed by C14 163 application of the principles involved. C14 164 |^Some university boards and scholarship awarding bodies have used C14 165 this approach for a long time and the author has been able to use many C14 166 of the problems which have been set for their examinations. ^To C14 167 complete the range of work he has added problems which he has himself C14 168 devised. ^In the organic section he has included a number of reaction C14 169 schemes in which the student is required to carry out tests on the C14 170 original, intermediate and final products, which serve to enlighten C14 171 the deductive processes. C14 172 |^The function of the book is highly commendable. ^Most teachers, C14 173 however, faced with the difficulty of raising the largest number of C14 174 examination candidates to O and A level in the short time available, C14 175 will shrink from embarking on a scheme which, however educative, C14 176 demands a level of intellectual ability which only a smaller number of C14 177 candidates will achieve. C14 178 |^The university boards could support the author's initiative by C14 179 requiring that all candidates tackle a question of this type. C14 180 *<*2THE WEAVER'S BOOK. *0By *2HARRIET TIDBALL. *0Macmillan, New York. C14 181 38\0s. 6\0d.*> C14 182 |^In spite of the description on the dust jacket this is not really C14 183 a book for the absolute beginner. ^It is, however, an excellent C14 184 text-book for the serious weaver who wishes to attain a high standard C14 185 of craftsmanship and who is willing to spend the time necessary to C14 186 explore the many possibilities of design in this ancient craft. C14 187 |^In addition to chapters on the loom, yarns and preparations for C14 188 weaving, much of the book is devoted to drafting and a thorough C14 189 description of the various possible weaves. ^The 109 drafts C14 190 illustrated are methodically grouped and to them are added some C14 191 excellent photographs of the finished weaves. ^Miss Tidball's book is C14 192 the result of much practical experience and contains much sound C14 193 advice, not only for the beginner but also for the more practical C14 194 weaver. C14 195 *<*5The London Theatre*> C14 196 *<*6YOUNG WRITERS ON THE MOVE*> C14 197 *<*0From a Correspondent*> C14 198 |^Although \0Mr. Edward Albee's first play had its first C14 199 performance here, at the Arts Theatre, he is better known as a C14 200 dramatist on the continent and in New York. ^On the evidence of *1The C14 201 Death of Bessie Smith *0and *1The American Dream, *0the double bill at C14 202 the Royal Court, this is a state of affairs that will soon be put C14 203 right. ^In passing one must say how good it is to see the short play C14 204 beginning to have a look in again. ^During the past two or three years C14 205 we have often seen plays by the most promising of playwrights spoiled C14 206 by the absurd necessity of inflating a natural three-quarters of an C14 207 hour into a full theatrical evening. C14 208 |^*1The Death of Bessie Smith *0tells a simple and terrible story C14 209 in a laconic, highly charged manner. ^On a hot afternoon, in a C14 210 crumbling house near Memphis, Tennessee, a nurse is getting ready to C14 211 go to work; her old father, dreaming of past splendours, is infuriated C14 212 by the blues wailing out of his daughter's gramophone. C14 213 *# 2007 C15 1 **[086 TEXT C15**] C15 2 *<*7NEXT WEEK'S ENTERTAINMENT IN THE CITY*> C15 3 *<*6CARNE'S STUDY OF YOUTH'S AIMLESSNESS*> C15 4 |^*4T*2HE *0youth whose symptom is a strange restlessness and a C15 5 desire to take the best from life without putting anything into it*- C15 6 the Beatnik*- is depicted in *"{Les Tricheurs}**" (Youthful Sinners), C15 7 the film coming to the Rex next week, directed by the brilliant C15 8 Frenchman, Marcel Carne. C15 9 |^The setting is \0St. Germain-des-Pres and the Latin Quarter of C15 10 Paris, but it could be anywhere where semi-students and semi-idle C15 11 youth forgathers, with negative emotions, drowning doubts in jazz and C15 12 drink, betting stupidly and cheating with life, love and truth. C15 13 *<*6ACTING AWARDS*> C15 14 |^*0Marcel Carne does not condemn them; he believes that their way C15 15 of life is caused through lack of parental interest, and hopes, that C15 16 through this film, some of these adults will wake up to their C15 17 responsibilities. C15 18 |*"{Les Tricheurs}**" was the most successful film to be shown in C15 19 France last year. ^It was awarded the {Grand Prix du Cinema Francais}, C15 20 and its two stars, Pascale Petit and Jacques Charrier, were given the C15 21 best actress and actor award of the year for their performances. C15 22 *<*5Mummers In Play Debut*> C15 23 |^*0To follow their successful production of *"All My Sons**" by C15 24 Arthur Miller, shortly to be presented again for the Arts Theatre, C15 25 {0C.U.} Mummers will give the first Cambridge presentation of *"The C15 26 Dream of Peter Mann**" by Bernard Kops at the {0A.D.C.} Theatre next C15 27 week. C15 28 |^Kops is well known for his *"Hamlet of Stepney Green,**" whose C15 29 production at the Arts two years ago caused such widespread interest. C15 30 ^*"The Dream of Peter Mann,**" whose only previous production was at C15 31 last year's Edinburgh Festival, sees Kops striking a balance between C15 32 the urgency of his ideas and his talent for vital, colourful C15 33 entertainment. C15 34 |^It is to run at the {0A.D.C.} from Tuesday to Saturday of next C15 35 week at 8.15, with a 2.30 matinee on Saturday. C15 36 *<*7GUINNESS AND MILLS CONFLICT*> C15 37 |^*4B*2ASED *0on the best selling novel by James Kennaway, the C15 38 controversial *"Tunes of Glory,**" comes to the Regal Cinema next week C15 39 to give cinema-goers the opportunity of seeing two of Britain's most C15 40 brilliant actors. C15 41 |^For playing the leading parts of two {0C.O.}'s of a Highland C15 42 Regiment are Alec Guinness and John Mills, the one having won the C15 43 affection of his men by leading them through the war, and the other a C15 44 hard, efficient newcomer who is heartily disliked by the majority of C15 45 the soldiers. C15 46 |^The relationship between the two men and their influence on the C15 47 regiment forms the basis of the plot, while the affairs of the C15 48 soldiers in their off-time, provides an opportunity to introduce some C15 49 glamour into this tough and tragic film. C15 50 |^Supporting roles are played by Dennis Price, John Fraser, Kay C15 51 Walsh and Susannah Yorke. ^The film is produced by Colin Leslie and C15 52 directed by Ronald Neaman. C15 53 *<*6CHRISTIE PLAY ON FILM*> C15 54 |^*0Following the West End stage success of *"The Spider's Web,**" C15 55 Agatha Christie's thriller has now been made into a film starring Jack C15 56 Hulbert, Cicely Courtneidge, Glynis Johns and John Justin. C15 57 |^It is to be shown at the Central Cinema next week. C15 58 |^The action covers one day in the lives of the occupants of a C15 59 pleasant country house who find they have a body on their hands C15 60 shortly before the arrival of an important foreign diplomat. C15 61 *<*6GUEST ARTIST*> C15 62 |^*0At all costs this must be covered up so that the important C15 63 conference with the {0V.I.P.} can take place, and it is in this C15 64 endeavour that the plot develops, drawing into it a number of C15 65 mysterious suspects. C15 66 |^Introducing 13 years old Wendy Turner to the screen as the C15 67 daughter of the household, the film also enables David Nixon to make a C15 68 guest appearance. C15 69 *<*4New Group's Arts Visit*> C15 70 |^*0*"The Glass Menagerie,**" thought by some American critics to C15 71 be Tennessee Williams' greatest play, it is undoubtedly his most C15 72 heart-felt, has not yet been performed professionally in Cambridge. C15 73 ^At the Arts Theatre next week, it will be presented by the Group of C15 74 Three, a new company recently created by Charles Vance, who will C15 75 direct the play with the same cast*- Imogen Moynihan, Ben Hawthorne, C15 76 Joan Shore and himself*- that has won critical acclaim elsewhere. C15 77 |^Charles Vance comes from a theatrical family especially C15 78 well-known in Northern Ireland. ^Of the other members of the Group of C15 79 Three, Imogen Moynihan has experience in management as well as being C15 80 an actress of talent and Joan Shore has been delighting audiences at C15 81 Ipswich, Northampton, Cromer and other theatres in East Anglia. ^Ben C15 82 Hawthorne, a young New Zealand actor of great promise, has the C15 83 important role of the son in *"The Glass Menagerie,**" and completes a C15 84 cast that is an unusually well-balanced team. C15 85 *<*4Backstage *'Slums**'*> C15 86 |^*0Substantial improvements have taken place over a wide range of C15 87 theatres since 1946, but there are still far too many theatrical slums C15 88 which could be vastly improved at small cost, declares the quarterly C15 89 *"Equity Letter.**" C15 90 |^It calls on all members of the British Actors' Equity Association C15 91 to write asking their {0M.P.}s to urge the Government not to omit C15 92 theatres from the proposed legislation concerning amenities in shops C15 93 and offices. C15 94 *<*5Two Artists Who Live In Mills*> C15 95 *<*7WHERE PAINTS & MUSIC GO TOGETHER...*> C15 96 |^*4M*2USIC *0and painting live side by side complimenting C15 97 **[SIC**] each other at Pampisford Mill, the home of the C15 98 Campbell-Taylors. C15 99 |^While her 24 years old daughter practises at her grand piano, C15 100 \0Mrs. Campbell-Taylor is often painting at the other end of their C15 101 ground floor studio. ^*"I can paint better with music as my C15 102 companion,**" she said. C15 103 |^The mill has been converted attractively. ^The river swirls a few C15 104 yards from the front door and provides just the setting of this C15 105 artistic family. C15 106 |^\0Mrs. Campbell-Taylor does not like to trade on her husband's C15 107 name*- he is a Royal Academician*- so she uses her maiden name of C15 108 Brenda Moore. ^Specialising in portraits she resumed her profession C15 109 five years ago having seen her daughter launched in her own career as C15 110 a pianist and teacher. C15 111 *<*5Won Scholarships*> C15 112 |^*0Her art training started when, at the age of 14, she was sent C15 113 for a trial term to the Oxford School of Art. ^Later she went to the C15 114 Brighton School and was awarded a local scholarship. ^When she was 20 C15 115 years old she won a leaving scholarship to the Royal Academy Schools. C15 116 |^One of the first visiting members of the Royal Academy to C15 117 instruct her was \0Mr. Campbell-Taylor who was to become her husband C15 118 five years later. C15 119 |^Rather than branch into commercial art on leaving the Academy, C15 120 she became an apprentice to a picture frame maker, and still makes C15 121 mounts for her water colours and drawings. C15 122 |^Although her painting career was interrupted, she helped her C15 123 husband and continued to accumulate painting knowledge. C15 124 |^*"You never lose the ability to paint once you have absorbed the C15 125 first principles in art*- practise **[SIC**] is not as essential in C15 126 painting as it is for instrument playing,**" she says. C15 127 *<*5Child Portraits*> C15 128 |^*0On the difference between the professional and the amateur C15 129 artist, \0Mrs. Campbell-Taylor said: ^*"It could not be defined by C15 130 income or pay packet. C15 131 |^*"The professional is never satisfied with an easy answer and C15 132 believes that nothing is so worth-while as the problem that arouses C15 133 all the receptivity, excitement and competence he is capable of C15 134 experiencing which tuition has accelerated. C15 135 |^*"For the amateur it is an emotional outlet which can also have C15 136 its own monetary value in these days.**" C15 137 |^In the studio she has some delightful portraits and drawings of C15 138 children, so I asked if she particularly enjoyed this type of work. C15 139 |^\0Mrs. Campbell-Taylor replied that while having no preference C15 140 for the age of her subject, she did find painting children C15 141 particularly interesting and often a challenge. ^She usually stays C15 142 with the family and makes studies of the child when asleep before C15 143 attempting the painting. ^*"You really have to get an idea of the C15 144 personality and form before you start. C15 145 |^*"It is as exciting and difficult for a child to sit as it is for C15 146 the painter to paint. C15 147 **[END QUOTE**] C15 148 *<*5Clay Modelling*> C15 149 |^*0*"The fun of portrait painting,**" she added, *"is in trying to C15 150 assess and understand the temperament of the people you are C15 151 painting.**" C15 152 |^As an artist she has learned a considerable amount from clay C15 153 modelling, which she has exhibited as well as paintings*- including C15 154 one of the anointing of the Queen Mother, then Queen, at the C15 155 coronation of George *=6*- at the Royal Academy. C15 156 |^And recently \0Mrs. Campbell-Taylor had two drawings at the Royal C15 157 Society of Portrait Painters' Exhibition. C15 158 *<*6...AND A STUDIO THAT WILL BE LIT BY GLASS DOME*> C15 159 |^I *2MET *0another artist who will soon be living in a mill*- this C15 160 time a windmill at Hemingford Grey. C15 161 |^\0Mrs. Jeanette Jackson, a London abstract painter who is C15 162 currently exhibiting her work in Cambridge, hopes the conversion of C15 163 the windmill will be completed by the early autumn. C15 164 |^The windmill has been admired by \0Mrs. Jackson since childhood C15 165 and many times, like Jimmy Edwards, she has attempted to buy it, at C15 166 last being successful. C15 167 |^It will have a glass dome to let in the light, and the four C15 168 floors will give plenty of studio room. C15 169 *<*4Frame Problem*> C15 170 |^*0The family*- she has a son at Trinity and one daughter*- will C15 171 spend their week-ends at Hemingford Grey, \0Mrs. Jackson working as an C15 172 art teacher in a London school during the week. C15 173 |^The day I met her she had a problem on her hands. ^One of her C15 174 paintings, 8 \0ft. by 5 \0ft. was sent unframed to the Women's C15 175 International Art Club's exhibition. C15 176 |^It came back that morning with a frame, and would not go through C15 177 the front or back door. C15 178 |^\0Mrs. Jackson is an extraordinary **[SIC**] prolific painter. C15 179 ^In one year she paints more than 200 pictures, though not all these C15 180 survive her critical scrutiny. C15 181 *<*4Other Interests*> C15 182 |^*0She is *'passionately fond of cooking.**' ^Having lived in C15 183 Germany for several years she always cooks their national dishes for C15 184 her friends unless they are foreigners*- then she always cooks roast C15 185 beef and apple pie. C15 186 |^Her other interest is collecting Victoriana. ^When she first C15 187 started this 25 years ago she bought a Victorian chair for 7\0s 6\0d., C15 188 which she is sure will now fetch somewhere in the region of *+30. C15 189 *<*6A SOLDIER WHO TURNED TO POTTERY AT AGE OF 52*> C15 190 *<*4Work Of Reychan Exhibited At Heffer Gallery*> C15 191 |^T*2HE *0Heffer Gallery have just opened an exhibition of the C15 192 works of Stanislas Reychan, the Polish soldier who began training as a C15 193 potter at the age of 52. C15 194 |^His remarkable success must be due to some extent to heredity*- C15 195 he is of the fifth generation in a family of potters*- but heredity C15 196 cannot explain everything. C15 197 |^Almost everyone must have seen his pieces of pottery sculpture at C15 198 some time or another. ^The shiny little black bulls, with curly C15 199 foreheads lowered; the rather pear-shaped Adam and Eve figures sitting C15 200 happily under a snake-entwined tree in a pottery Eden*- pieces like C15 201 these must be familiar to thousands. C15 202 |^Reychan has exhibited in the Open Air Exhibitions in London, and C15 203 for the past six years at the Royal Academy. C15 204 |^His work has been welcomed as an important modern flowering of C15 205 the tradition which produced the exquisite pieces of Bow and Chelsea, C15 206 and the curiosities of Staffordshire. C15 207 |^Reychan's knights in armour, his medieval heroes, classical C15 208 personalities, are undeniably works of art of a very vital and C15 209 individual kind. C15 210 |^Their appeal, being modern, is direct and uncomplicated. ^In C15 211 spite of the humour that has gone into a good many of them, they are C15 212 not without dignity. C15 213 |^Two companion pieces, Lion and Unicorn, are rather attractive; C15 214 Hercules (taming a lion), Silenus (his arm thrown blissfully over a C15 215 barrel), a centaur, executed in unglazed red earthenware, turning to C15 216 shoot an arrow back over his shoulder*- these are just a few that C15 217 catch the eye, among many. C15 218 |^Their prices, considered against the prices of more conventional C15 219 pottery, are certainly not excessive. C15 220 |^{0*6P.O.} C15 221 *<*4Selwyn Mitre Players Good Choice*> C15 222 |^S*2HAKESPEARE'S *0*"Two Gentlemen of Verona,**" this year's C15 223 production by the Selwyn Mitre Players, has emerged as a choice C15 224 well-suited to the available talent, and in general commendable for C15 225 its boldness, fluency and straight forward interpretation. C15 226 |^Performed in the College Hall against a dark backcloth, with no C15 227 scenery other than an odd chair or table to relieve the bareness of C15 228 the stage, it naturally depended entirely upon the acting for its C15 229 success. C15 230 *# 2029 C16 1 **[087 TEXT C16**] C16 2 *<*4The Post review of next week's shows*> C16 3 *<*6ANOTHER FROM *'SALAD DAYS**' STABLE*> C16 4 |^THE *4team behind the longest running musical in the world C16 5 (*"Salad Days**") have come up with another musical which goes to the C16 6 West End the week after it has finished at the *6NOTTINGHAM THEATRE C16 7 ROYAL. ^*4The latest from the pens and pianos of Julian Slade and C16 8 Dorothy Reynolds is *"Wildest Dreams,**" due to open at the Vaudeville C16 9 on August 3. C16 10 |^*"Wildest Dreams**" *0is set in Nelderham, a country town in C16 11 which a girl called Carol, just out of school, meets Mark, a young C16 12 reporter sent to write up in satirical terms the town's reactions to C16 13 his newspaper's questionnaire. ^As in *"Salad Days,**" the young C16 14 couple have personality and purpose. ^Carol, though monosyllabic, C16 15 rebellious and scruffy in the manner of some of the modern young, has C16 16 a strong vision of her character and a determination to preserve it in C16 17 the teeth of her aunt's interference. ^And Mark believes he has it in C16 18 him to convert a whole country town. C16 19 |^Anna Dawson plays the girl. ^Now 24, she got her first theatrical C16 20 chance in a previous Slade-Reynolds musical, *"Free as Air,**" and, C16 21 apart from pantomime and repertory experience, has been in C16 22 *"Marigold**" at the Savoy. ^John Baddeley, who partners her as Mark, C16 23 was also in *"Free as Air,**" as well as *"Follow That Girl.**" ^Aged C16 24 27, he is an actor whose experience has varied from repertory at C16 25 Birmingham, Sheffield, the Bristol Old Vic and Guildford to a tour in C16 26 *"The Lilac Domino.**" C16 27 |^With Julian Slade at the piano, Miss Reynolds plays the C16 28 domineering aunt, who meets a composer who tries to sing his own songs C16 29 (Angus Mackay*- in private life Miss Reynold's husband). ^The musical C16 30 numbers are by Basil Pattison, and decor by Brian Currah, who recently C16 31 designed for *"The Caretaker.**" C16 32 |^*6PLAYHOUSE: ^*0Third week of *4*"Second Post,**" *0a revue of 28 C16 33 items by various authors, produced by Val May before he leaves for C16 34 Bristol Old Vic. ^Targets range from the familiar skits on *"Beat the C16 35 Clock**" and *"The Archers**" to the offbeat, with a cast of thirteen C16 36 topped by Rhoda Lewis and Arthur Blake. C16 37 *<*4City Cinemas*> C16 38 |^*0Following the same formula of a tearaway technique compounded C16 39 of slapstick and *4{6double entendre}, *0the sequel to *"Dentist in C16 40 the Chair**" is *4*"Dentist on the Job**" *0at the *6ABC *0and C16 41 *6METROPOLE *0cinemas. ^In this, the manager of a firm putting out a C16 42 new toothpaste (Eric Barker) gets a couple of dentists to endorse it. C16 43 ^It seems a good opportunity for the Dean of King Alfred's Dental C16 44 College (likewise Eric Barker) to unload a brace of recently graduated C16 45 deadheads, Bob Monkhouse and Ronnie Stevens. C16 46 |^With dental mechanic Kenneth Connor, just out of gaol, they dream C16 47 up schemes to promote the new paste. ^In the process they meet Shirley C16 48 Eaton*- in a bubble bath on to which they turn a wind machine. C16 49 |^Their biggest achievement, however, is when they hear that the C16 50 Americans are launching a satellite which will broadcast a tape C16 51 recording of goodwill for seven years. ^Now if a tape extolling the C16 52 virtues of their toothpaste could be substituted...? C16 53 |^Some hardworking man at the Disney studios has counted the spots C16 54 on the Dalmatians in *4*"One Hundred and One Dalmatians**" *0at the C16 55 *6ODEON. ^*0Each dog wears 32 to 72 spots, depending on which side is C16 56 exposed to the viewer*- which accounts for 6,469,952 dancing spots. C16 57 ^Which is only right and proper in a 4,000,000-dollar production C16 58 involving 800 miles of drawings, 1,000 colours and 800 tons of paint. C16 59 |^The most sophisticated to date of Disney's 53 features, *4*"One C16 60 Hundred and One Dalmatians,**" *0brings together a human bachelor who C16 61 owns a Dalmatian called Pongo and a shapely girl who owns one called C16 62 Perdita. ^It is love at first sight, marriage at first opportunity, C16 63 and soon fifteen beautiful puppies are born (to the Dalmatians, that C16 64 is). ^But enter a villainess, Cruella De Vil, rich, cunning and with a C16 65 passion for coats made of Dalmatian hides. ^She dognaps the pups and C16 66 puts them with 101 others in a haunted old English manor house. C16 67 ^Scotland Yard is baffled, but the dogs of London get on to the scent. C16 68 |^With *4*"Gunlight at Sandoval,**" *0\0Tech. Texas Ranger Tom C16 69 Tryon avenges death of friend killed trying to prevent bank hold-up. C16 70 ^Dan Duryea. C16 71 |^It was inevitable that Peter Ustinov should join the exclusive C16 72 four-star club by writing, producing, directing and starring in one C16 73 film. ^In *4*"Romanoff and Juliet,**" *0at the *6GAUMONT, *0he is C16 74 literally a four-star general, not to mention also being President and C16 75 {0UN} representative of the tiny country of Concordia, so small that C16 76 even {0UN} colleagues can't locate it on the map. ^But the President C16 77 wants to keep it that way, knowing that when it is discovered it will C16 78 be either swamped with aid or blown *2OFF *0the map. ^Love and C16 79 laughter, he feels, engender more happiness than politics or C16 80 philanthropy. C16 81 |^At a meeting of the United Nations he causes pandemonium by C16 82 abstaining on an important vote involving an amendment to an amendment C16 83 to an amendment, and on his return to Concordia becomes the target for C16 84 the Russian ambassador, Romanoff, and the American ambassador, C16 85 Moulsworth, both of whom insist on giving his country aid. ^Keeping a C16 86 wary eye on each other, they woo Concordia*- while their respective C16 87 offspring (John Gavin and Sandra Dee) are breaking down international C16 88 barriers with a spot of wooing themselves. ^Technicolor. C16 89 |^With *"A Date with Death,**" Gerald Mohr tracks policeman's C16 90 killer. C16 91 |^In the roaring expansion of the West a century ago, no town is C16 92 more terrorised than *4*"Warlock**" (*6ELITE) *0where the people have C16 93 been reduced to a handful of cowardly citizens as one sheriff after C16 94 another is murdered or run out of town in the monthly beat-up the C16 95 place receives from a bunch of cowboys from the San Pablo ranch. ^The C16 96 brawlers, drinkers and killers include Richard Widmark, who has grown C16 97 to hate these descents on the defenceless town since he took part in C16 98 the massacre of harmless Mexicans. ^In desperation of ever getting a C16 99 new sheriff who can protect them by law, the townsfolk hire Henry C16 100 Fonda who will be able to use his fast gunplay and be above the law. C16 101 ^Accompanied by crippled gambler Anthony Quinn, the new Marshal C16 102 arrives and makes his mark. ^Sickened by all the lawless killing, C16 103 Widmark throws in his lot with him. ^Dorothy Malone. ^CinemaScope, C16 104 \0Tech. C16 105 |^With *4*"Between Heaven and Hell,**" *0CinemaScope, Terry Moore C16 106 feels that the feudal attitude husband Robert Wagner has towards the C16 107 sharecroppers on his land will one day cause trouble. ^And when he is C16 108 called into the army, it does. C16 109 |^*6MECHANICS: ^*4*"There Was a Crooked Man.**" ^*0Ex army C16 110 explosives expert Norman Wisdom is persuaded to join gang of C16 111 safecrackers by the argument that if there weren't any criminals, all C16 112 the clergymen, police and probation officers would be out of work. C16 113 ^After a few successes, the gang disguise themselves as American army C16 114 officers and work a gigantic swindle by blowing up an entire town. C16 115 ^Susannah York. ^Alfred Marks. C16 116 |^With *4*"Trapeze,**" *0crippled and embittered by a fall, circus C16 117 star Burt Lancaster refuses to teach American acrobat Tony Curtis the C16 118 dangerous triple somersault. ^Whirling round in the circus tent, they C16 119 solve an emotional triangle involving Gina Lollobrigida. C16 120 |^In Japan, apparently, they play something called *4*"The Cola C16 121 Game,**" *0described at the *6SCALA. ^*0A circle of boys and girls C16 122 place a Coca-Cola bottle on its side and spin it. ^When it stops, the C16 123 couple to whom it points must make love in front of the others which C16 124 explains why Coca-Cola sells very well in Japan. ^A pretty young co-ed C16 125 named Junko gets into the game and thus meets a youngster with whom C16 126 she has an affair. ^Discovering herself pregnant she has an abortion, C16 127 but her lover couldn't care less and goes off on a ski-ing trip with C16 128 the girl in the next apartment. ^Junko moves out of his flat and goes C16 129 to live with a young architect whom she respects greatly and who feels C16 130 sorry for her. ^In this way, it says here, *"she experiences the true C16 131 meaning of love and happiness.**" ^X-certificate. C16 132 |^Phillipe Lemarre has been the scapegoat of some doubtful pals in C16 133 *4*"{Les Clandestines}**" *0at the *6MOULIN ROUGE. ^*0Sent to gaol for C16 134 two years, he has quixotically, refused to clear himself by betraying C16 135 his colleagues, and, when he gets out, finds his grandfather has been C16 136 driven to suicide by a bunch of crooks. ^Now there is a thriving C16 137 call-girl racket operating from the old man's apartment which they C16 138 have taken over. ^With the help of blonde mannequin Nicole Courcel, C16 139 the released prisoner pieces the story together. C16 140 |^With *4*"The Parasites,**" *0Jeanne Moreau is a streetgirl C16 141 forever searching for real love in Montmartre. ^When her protector is C16 142 betrayed to the police she gets entangled with other shadowy creatures C16 143 of the underworld. ^Both films X-certificate. C16 144 *<*4The Post review of next week's shows*> C16 145 *<*6JESSIE AND RALPH TWINKLE AGAIN*> C16 146 |^TWO *4veterans of the twenties and thirties*- one remembered for C16 147 her vivacity in musicals, and the other for his assinities **[SIC**] C16 148 in a series of world famous farces*- visit Nottingham next week as a C16 149 team. ^Jessie Matthews and Ralph Lynn come to the *6THEATRE ROYAL *4in C16 150 a farce called *"Port in a Storm**" by Rex Howard Arundel. C16 151 |^*0The ex *"Cochran young lady**" and the monocled *"ass**" of so C16 152 many pieces of Ben Travers at the Aldwych are cast respectively as a C16 153 crime novelist and her old flame. ^She hides him at home when he is on C16 154 the run from his virago of a wife until she discovers that she is also C16 155 harbouring a stolen diamond necklace. ^The writer has a house staff of C16 156 ex-convicts to keep her in touch with the way of the underworld, and C16 157 the farce's ingredients include a long-lost son, a runaway secretary C16 158 and a lock-picking butler. ^The play is on its pre-London tour. C16 159 |^Jessie Matthews made her first appearance on the stage in 1917 C16 160 when she was ten years old, and took to revue five years later. ^She C16 161 made her first hit while still in her teens, understudying Gertrude C16 162 Lawrence in America, and when she came back to London she twinkled for C16 163 many years as {0C. B.} Cochran's brightest discoveries **[SIC**] in C16 164 shows that ranged from *"This Year of Grace**" and *"One Damn Thing C16 165 After Another**" to the famous *"Evergreen**" which, as well as being C16 166 made into a film, ran for two years. ^Miss Matthews last came to the C16 167 Nottingham Theatre Royal in 1955 when she and her daughter Katie C16 168 played in Coward's *"Private Lives.**" C16 169 *<*6NEARLY 80*> C16 170 |^*0Now a lively 79, Ralph Lynn has been going strong on the stage C16 171 since 1900 (when he appeared in *"King of Terrors**" at Wigan), and C16 172 about 1925 was up to his debonair tricks at the old repertory theatre C16 173 in Hyson Green, Nottingham, when the Grand was a going concern. ^He, C16 174 Tom Walls and Robertson Hare made the name of the Aldwych synonymous C16 175 with farce through such classics of foolery as *"Cuckoo in the C16 176 Nest,**" *"Thark**" and *"Rookery Nook.**" C16 177 |^\0Mr. Lynn and his bald sparring partner appeared at the Theatre C16 178 Royal in 1952 in the premiere of a later Ben Travers farce, *"Wild C16 179 Horses.**" ^They were together again two years later in Peter Jones's C16 180 *"The Party Spirit.**" ^\0Mr. (*"Oh, calamity!**") Hare can be seen C16 181 again in Nottingham, by the way, on October 16, when he plays in the C16 182 tour of *"The Bride Come **[SIC**] Back**" with Jack Hulbert and C16 183 Cicely Courtneidge. C16 184 |^*6PLAYHOUSE: ^*0Fourth and positively final week of the revue C16 185 *4*"Second Post**" *0twenty-eight items of song, sketch and dance by C16 186 various authors. ^Two of them have just been sold for the new West End C16 187 revue *"The Lord Chamberlain Regrets**"*- *"Lady of the Camellias,**" C16 188 in which Rhoda Lewis sings *1{6a la} *0Dietrich, and *"Cries of Old C16 189 London**" involving three decrepit bellringers and a stomach-heaving C16 190 *"sick**" joke. C16 191 *<*4City Cinemas*> C16 192 |^*0A ten-year-old opus by Alfred Hitchcock is re-issued at the C16 193 *6ABC *0and *6METROPOLE*- *0his *4*"Strangers on a Train.**" ^*0A long C16 194 train journey often prompts complete strangers to strike up a casual C16 195 conversation. ^They will talk about the weather, politics or crime. C16 196 ^But it's rare for two people to talk about murder on a personal C16 197 level. C16 198 *# 2013 C17 1 **[088 TEXT C17**] C17 2 *<*6FILM PAGE*> C17 3 *<*4by \0F. Leslie Winters*> C17 4 * C17 5 |^H*2AVING *0looked back on 1960 last week, it is now time to think C17 6 of 1961 and the films it will bring. C17 7 |^As far as Hollywood activities go, my correspondent there says C17 8 that, after preliminary box-office results of *"The Alamo**" and C17 9 *"Spartacus,**" there is a big drop in super-colossal productions and C17 10 emphasis trends to intimate little pictures with Sex as the big motif. C17 11 ^This follows the invasion of European films in America. C17 12 |^Here I have selected 25 coming British films which look promising C17 13 of their types. C17 14 |^A picture which must strictly be regarded as American yet which C17 15 has a British star and director is *"Lawrence of Arabia,**" with Peter C17 16 O'Toole and made by David *"River Kwai**" Lean. Our own Michael C17 17 Anderson has also made the drama-thriller *"The Naked Edge**" with C17 18 American Gary Cooper and British/ {0U.S.} Deborah Kerr. ^Peter C17 19 Finch, for whom 1960 was triumphant, will be seen in a political drama C17 20 *"No Love for Johnnie,**" while Peter Sellers stars and directs a big C17 21 business drama *"\0Mr. Topaze.**" C17 22 *<*6SOPHISTICATED*> C17 23 |^*0Richard Todd will be seen in a sophisticated comedy and a war C17 24 drama*- *"Don't Bother to Knock**" and *"The Long and the Short and C17 25 the Tall.**" C17 26 |^Another star who is also directing is Nigel Patrick and his film C17 27 is *"*4Johnny Nobody,**" *0with Aldo Ray and Yvonne Mitchell as well. C17 28 ^We also have such extremes as *"*4Carry On Regardless,**" *0with a C17 29 cast you could pretty well guess, and *"*4Macbeth,**" *0with Maurice C17 30 Evans and Judith Anderson. C17 31 |^Stanley Baker will be on the wrong side of the law for a change C17 32 in *"*4The Criminal,**" *0and so will Michael Craig in *"*4Payroll.**" C17 33 ^*0Crime will also be the theme of *"*4Frightened City,**" *0with John C17 34 Gregson and Herbert Lom*- a vice \6*1expose. C17 35 |^*0Horror plus science fiction are scheduled with *"*4The Children C17 36 of Light**" *0(uncast) and the film of the {0TV} success C17 37 *"*4Quatermass and the Pit,**" *0which would be unthinkable without C17 38 Andre Morell. ^*"*4The Phantom of the Opera**" *0(once Lon Chaney's C17 39 triumph) will also be remade over here*- the third edition, I think. C17 40 |^Back to comedies*- Leslie Phillips, James Robertson Justice and C17 41 Eric Sykes combine with *"*4Very Important Person**"; *0Jimmy Edwards C17 42 will give us *"*4Nearly a Nasty Accident**"; *0Ian Carmichael and C17 43 Janette Scott co-star in *"*4Double Bunk,**" *0and Terry-Thomas will C17 44 be with Janette for *"*4His and Hers.**" C17 45 *<*6HEART-THROB*> C17 46 |^*0There is much prophecy that the new heart-throb of the year C17 47 will be Warren Beatty, over here to star with Vivien Leigh in a sordid C17 48 drama called *"*4The Roman Spring of \0Mrs. Stone.**" ^*0Warren is C17 49 engaged to Joan Collins. ^Another American here is Susan Strasberg, to C17 50 co-star with Ronald Lewis and Ann Todd in a thriller, *"*4Taste of C17 51 Fear.**" C17 52 |^*0British George Sanders stays on to co-star with Peter Cushing C17 53 in *"*4Time of the Fire.**" ^*0To end with another contrast, we shall C17 54 have Max Bygraves in a serious film about slum school life, *"*4Spare C17 55 the Rod,**" *0and Virginia McKenna returning to the screen for a tense C17 56 drama set in Sweden*- *"*4Two Living, One Dead,**" *0in which she will C17 57 co-star with husband Bill Travers. C17 58 *<*4This is D-Day*- in four different versions*> C17 59 |^N*2O *0one seems to know if we are going to have two major films C17 60 about D-Day or not. ^Certainly Howarth's book *"Dawn of D-Day**" has C17 61 been purchased for filming. ^But Darryl Zanuck is first with details C17 62 about his *"Longest Day,**" by Cornelius Ryan. ^He will start C17 63 production on June 6 on the original Omaha beach, Normandy, on C17 64 sequences to cost as much as an average minor epic. C17 65 |^The story is in four parts, each with its own director, telling C17 66 the same story from the British, American, French and German points of C17 67 view. ^I would like Monty's view of Zanuck's statement: *"^The theme C17 68 will be the stupidity of war. ^The Allies made every conceivable C17 69 physical mistake but, fortunately for us, the Germans made more. C17 70 ^Unbelievable blunders on both sides took place.**" ^How the Americans C17 71 love to debunk! C17 72 | C17 73 |^*6A *2PITY *0this country hasn't anything comparable with the C17 74 Hollywood Motion Picture Museum. ^A big new building is now planned to C17 75 house nearly two million pounds worth of equipment dating to the C17 76 pioneer days. ^It will be built opposite the Hollywood Bowl (famous C17 77 arena and scene of spectacles, music and pageantry) and the American C17 78 film industry is to lay out *+350,000 on exhibits and *+180,000 on C17 79 equipping sound stages for demonstrations of film production. C17 80 *<*6VERSATILE JOE*> C17 81 *<*0by *2JOHN GORDON*> C17 82 |^*6J*2OE BROWN, *0former white-haired comedian of the {0ITV} C17 83 beat show *"Wham,**" has really hit a gusher. ^Just before starting C17 84 out on a tour of one-nighters*- in West Bromwich this week*- he C17 85 recorded two numbers, *"Shine**" and *"The Switch**" (Pye 7N15322). C17 86 ^On the top half he chants away happily; the backer is purely C17 87 instrumental. C17 88 |^This splendid disc proves Joe's versatility, which is going to C17 89 make him a top star this year*- you'll see. C17 90 | C17 91 |^Bill Bramwell's *"Candid Camera Theme**" (Decca F11309) is a most C17 92 unusual combination of guitar, piccolo and gimmick vocal. ^The other C17 93 half, *"Frederika,**" brings a more orthodox musical combination into C17 94 the picture with this slow, almost haunting, bluesy piece. ^Two good C17 95 sides. C17 96 *<*6FILM PAGE*> C17 97 *<*4by \0F. Leslie Winters*> C17 98 * C17 99 * C17 101 |^T*2HEY *0say (and I don't quite know who *"they**" are) that C17 102 audiences won't accept so eagerly these days the sort of films which C17 103 were tremendously successful about 15 to 20 years ago. C17 104 |^I have heard film executives express doubts whether a *"Seventh C17 105 Veil**" type of theme would capture people's fancy today in the C17 106 extraordinary way it once did. C17 107 |^Many of you will have a warm regard for that immensely popular C17 108 *"Song to Remember,**" in which Cornel Wilde played Chopin*- made in C17 109 wartime and which captured people's hearts as well as ears. C17 110 *<*6SHUNNED?*> C17 111 |^*0Can this sort of success be repeated in these times? ^Or does a C17 112 mixture of costume, classical music and courtly manner seem likely to C17 113 be shunned by audiences said to be horror and crime addicts? C17 114 |^I should be sorry to think so, for *"Song Without End,**" which C17 115 tells some of the story of Franz Liszt, is a film worth going to for C17 116 its music, its decor, its acting, and its elegance. C17 117 |^Those classical composers of the great musical era are C17 118 certainties for the script-writers. ^Their private lives, mainly, were C17 119 as wildly romantic and as full of drama as any novelist's inventions. C17 120 |^Even so, there is usually a tendency to soften the outlines, C17 121 polish up the bent haloes, and omit a few facts. C17 122 |^On the whole, *"Song Without End**" is fairly accurate. ^It is C17 123 marred by a few American accents and expressions, and is reticent C17 124 about Liszt's long affair with a Russian princess. ^Despite the detail C17 125 into which this part of the film goes, it doesn't even whisper the C17 126 fact that they lived together for many years in a strange atmosphere C17 127 of passion, piety and regret. C17 128 |^But jarring moments are remarkably few in the two hours and ten C17 129 minutes it takes to cover Liszt's career from the age of 26 until he C17 130 went into a monastery. C17 131 |^The film's inference at the end is that the composer has found C17 132 peace and will never emerge again. ^In fact, he merely took a minor C17 133 order and toured Europe as a white-haired and pretty gay old man. C17 134 |^The picture also merely includes two women in his life (from the C17 135 many who caught his eye)*- French Countess Marie, with whom he ran off C17 136 to Chamonix and whom he deserts to start another concert tour, C17 137 simultaneously with one roving eye on Russian Princess Carolyne C17 138 Sayn-Wittgenstein. ^She has a jealous husband and the protection of C17 139 the Czar*- formidable adversaries. C17 140 *<*6FRUSTRATION*> C17 141 |^*0The personal side of the story shows the frustration and C17 142 bitterness of the discarded mistress, a beautiful piece of acting from C17 143 France's Genevieve Page, and the passion-battling-religion of the C17 144 entranced princess, played with the face of Ava Gardner and the C17 145 coolness of a real princess by Capucine, lovely model with no acting C17 146 experience before this. C17 147 |^The musical side ranges from Chopin to Wagner, Beethoven to Bach, C17 148 Handel, Mendelssohn, Verdi, and Schumann. ^All this played by Jorge C17 149 Bolet, but magnificently co-ordinated with the hands of Dirk Bogarde, C17 150 who makes of Liszt an irresponsible but rather lovable puppy-dog C17 151 rather than a dare-devil, philandering genius. C17 152 |^I do so hope that the pattern of entertainment has not changed so C17 153 much that a worthy film of this type fails. ^Perhaps we shall be C17 154 surprised and Birmingham's Odeon will be packed this week. ^It C17 155 deserves to be. C17 156 *<*4An experiment in the shadows*> C17 157 |^I*2T *0is strange that a Hollywood actor should get the idea for C17 158 a film in a New York students' loft on January 14, 1957, and a few C17 159 months later, with money borrowed and money donated after a {0TV} C17 160 interview, make this film in the streets of that city and then fail to C17 161 find anyone in the United States who would show it. ^That is why John C17 162 Cassavetes came to England to find someone who would take a risk on C17 163 something new. C17 164 |^It was the directors of newly-constructed British Lion, who have C17 165 got faith in fresh faces, talent, ideas and letting people try them C17 166 out, who saw *"Shadows**" one evening and immediately offered C17 167 Cassavetes the money for world distribution rights. ^I feel sure they C17 168 won't regret it, from the prestige or financial angles. C17 169 |^This film, now at the Futurist, Birmingham, was made with a C17 170 16\0mm camera in 42 days and nights in New York marquees, in disguised C17 171 dust-bins, from trucks, in subway entrances and restaurant windows. C17 172 |^For six weeks the actors, all unknown to the general public, C17 173 lived together and discussed the story outline. C17 174 |^Each fully understood the situations planned and the nature of C17 175 the characters (which bear the same names as the actors), and when the C17 176 camera started they just talked*- without a script, as the words came C17 177 in their minds or were provoked by others. C17 178 |^The result, if not completely satisfying (some scenes do appear a C17 179 little contrived and tentatively scripted), is remarkable. C17 180 |^There is a coloured girl who pretends to sophistication but is C17 181 horrified at her seduction; her trumpet-playing brother who finally C17 182 stops his aimless existence after a slum beat-up; the clash and inner C17 183 concern of the colour problem. ^No one is very good or very bad. C17 184 |^It may not be a film for everyone, but it is an experiment that C17 185 almost comes off and is, undoubtedly, of importance in the technique C17 186 of film-making. C17 187 *<*6{0TV} TOPICS*> C17 188 *<*4by *6ROBBIE ASHLEY*> C17 189 *<*4Secrets of the *'Candid Camera**'*> C17 190 |^S*2O *0often have I heard suggestions that *"Candid Camera**" is C17 191 *"rigged**" that I decided to find out just how they go about C17 192 eavesdropping on the public. C17 193 |^An {0ABC} spokesman was quite adamant in refuting the charge of C17 194 *"rigging**" of sequences and employing actors in the role of \0Mr. C17 195 and \0Mrs. Public. C17 196 |^The only professionals employed on the show are Jonathan Routh C17 197 (its originator) and sometimes Bill Bramwell (the musical director). C17 198 ^Obviously they are required to *"set up**" the victim. C17 199 *<*6HIDDEN*> C17 200 |^*0Cameras, in soundproof cabinets, are hidden behind curtains, in C17 201 cupboards with the rear door left ajar; and for street scenes the C17 202 camera often shoots through the windows of a plain van parked nearby. C17 203 |^Tiny radio microphones are dotted all over the place*- Routh C17 204 often wears a lapel microphone which only a person in the know could C17 205 detect. ^An aerial runs down the trouser leg from the radio C17 206 microphone, and the speech is picked up by a receiving aerial in the C17 207 next room, under the counter, or just around the corner*- wherever the C17 208 scene is set. C17 209 *<*6SEQUENCES*> C17 210 |^*0Several sequences are shot in one day. ^For instance, in a C17 211 hardware shop Routh asked a woman to fill in a form to obtain a C17 212 licence to buy saucepan patches. Later, still in the same shop, he C17 213 began selling left-handed teacups to a gullible public. C17 214 |^Thousands of feet of film are shot every week, and a tremendous C17 215 amount is wasted. ^Sometimes a stunt does not come off; sometimes C17 216 Routh is recognised; and often nothing at all happens. C17 217 *# 2008 **[END**]