The New Films By Myles Standish LORRAINE HANSBERRY'S eloquent comedy-drama of Negro life in Chicago, "A RAISIN IN THE SUN," has been made into a powerful picture, alternately funny, angry, explosive, stunning and pathetic, but always honest and with the unmistakable ring of authenticity in its people and its dialogue. The cast is remarkable and director Daniel Petrie has brought out the best in them. This is a story of the dreams of ordinary people. The mother in the tenement home dreams jot t decent house and seems about to realize it from a $10,000 insurance check for her husband's death. Her son dreams of buying a liquor store, making lots of money and giving up his job as a chauffeur which he finds humiliating. His sister dreams of becoming a doctor. Sidney Poitier, the original New York star, is a whirlwind of emotion as the son, an angry, frustrated young man, writhing his supple body to explode a fury of impassioned bitterness, scarcely-suppressed violence and electric force. As the rock-like matriarch, Claudia McNeil of the original cast, who appeared at the American last February, tears the screen apart with her powerful personality, raging in righteous anger, dropping to a simple note of dignity or coming apart into a mass of stunned grief. Diana Sands as the half-kookie, half serious daughter who repre-Mnts a modern Negro outlook and sophistication, brings out much of the humor, and Ruby Dee as Poitier's wife is sensitive and affecting. This is an exciting picture which should be heard from at Academy Award time, as should its two forceful stars.
