The Observer from London, Greater London, England • 25

THE OBSERVER, SUNDAY. OCTOBER 18, 19 59 25 AT THE THEATRE TURNING A BLIND EYE AT THE FILMS I The Helping Hand Serving Two Masters Packaged Thrills By C. A. IN the old days we went to a Hitchcock film in order to tie startled. Now we go in order to relax.

We know exactly what to expect. A smoothly expert drama of flight and pur-. suit. A case of subtly mixed identities, with an ambushed a concealed villain and a heroine as glossy as a burnished chestnut. A bizarre and utterly fictitious thriller, leading towards a sensationally' unlikely climax.

We know, too, what not to expect A story with a social message. "The most outspoken picture of our tunes." A "significant" film. A "starkly honest" film. Hitchcock himself is honest as the day, but he is old-fashioned enough to believe that the first purpose of the screen is to endue its customers with pleasure. For almost four-fifths of North by Northwest (Empire) my feeling of well-being lasted.

Scriptwriter Ernest Lehman has provided Hitchcock. with an exciting story. About an advertising man (Cary Grant) who is mistaken for a Federal agent by a suavely sinister exporter (lames' Mason) of Government secrets. So, regrettably, he has to be eliminated. And the party chosen to lead him towards elimination is a lovely but ambivalent creature played by Eve Marie Saint THE! story goes wonderfully well up to the point which Mr.

Grant is. destined to be murdered in the middle of nowhere. He has had orders to meet a mysterious stranger at a bus-stop in a lone reach of country. The scene is flat ploughland, ochre-brown empty as-far as the eye can sec. A main road cuts straight through it like a sword.

The bus-stop seems it frivolity in this immense, dun waste. A local wayfarer, waiting for the bus, points out an oddity to Mr. Grant. A low-flying aeroplane, dusting crops where there are no crops to dust. The bus arrives and the wayfarer departs.

Mr. Grant is left at the mercy of the aeroplane. This tiequence is likely to be remembered as a classic. For drama, suspense, colour and sheer cinema thrill Hitchcock has never done anything to excel it. I would recommend "North by Northwest" for the bus-stop scene alone.

The trouble is that it the high point of the film. And there is still half an hour or so to go. Most of what follows seems an anticlimax. By ALAN PRYCE-JONES like atmosphere. There are effective flashes in the dialogue, and Lucienne Hill's translation sounds smooth to the ear: but the final effect is somehow less impressive than it ought to be.

The great commonplaces of denominational religion fit uneasily into so self-consciously clever a framework. Arc we being preached at or entertained? To some extent, both: but Jean Cadcll's final apostrophe "Be kind" seems in the end only an extension of Sean O'Cascy's Be brave at the Royal Court. Mammon presents problems no easier to solve for being different. The Importance of Being Earnest is certainly the best piece of modern Mammon in the language, and V. Sackville-Wcst's.

The Edwardian, is already a classic novel of Mammon-inspired unrest. At the Old Vic, and at the Saville Theatre, in Ronald Gow's adaptation, Edwardians and late Victorians have a field-day, from which thev do not come off unscathed. For the plain truth is that at the moment we have not the actors who can move with easy grace, like Charles Hawtrey and Lilian Braith-waitc, Gerald du Maurier or Marie Tempest, into whatever social stratosphere is demanded of them. In place of a steady glitter we are given the brightness of a charade. riHE present production of "The -L Importance of Being Earnest has been compared with that of Sir John Gielgud during the war.

This need not be to its discredit. The Gielgud production glittered all right, but it was excessively mannered; and the one enduring memory of it is that of Jack Hawkins as Algernon only because he played the part with beautiful discretion. The contrast between that memory and the reality of Alec McCowen sums up what is wrong with both productions. Alec McCowen is a quicksilver, uppity jester exactly right for Touchstone. He turns Algernon into a saucebox, and he gets the laughs all right.

But Wilde's Algernon disappears in the process, dissolved by naturalism just as surely as Jack and Lady Bracknell, played by Gielgud and Edith Evans, stiffened too easily into baroque folds of affectation some twenty years ago. The right level for playing The Importance lies just half-way between, and it is exceedingly hard to find and to keep. Inevitably, comparisons between Edith Evans and Fay Compton will be made. Fay Compton does not tackle the Fighting Tcmeraire aspect of Lady Bracknell, and she is still shaping her own identity in the part an indecision which affects her delivery. For the airy balance of Wilde's prose demands absolute certainty on the part of any player who is to put it effectively across.

In his own fashion, Wilde at best had as sure an ear as Tennyson, and he requires an equally precise intention in the mind of his interpreters. Ronald Gow, in adapting "The Fdwardians," rightly saw that the novel contained too much for three acis. He has therefore dramatised only selected incidents; but without making a coherent play out of his selection. On the first night the production dragged a little; once that is overcome an amusing comedy, played against a fctchingly romantic view of Knole, will emerge. Athene Seyler, whose splendid gifts are called on only to ham the part of a dowager in a bath-chair, will delight her fans; Ernest Thesiger, as the butler, will be ready to displace his ducal master at any moment, and a trio of silly old men headed by Nicholas Hannen will still be funny.

But the period feeling is too uncertain for real success, and the best moment of the evening will remain in the hands of Patricia Rogers, the young duke's reluctant bride who is able to stand on the very edge of the Edwardian framework. Otherwise, it is not certain whether this is a play about the bore of being a duke, or about the fun of being a duke in love with someone else's wife, or about the autumnal glow of all England in 1910. or about the importance of Socialism. If high life was really like that party at Chevron. Anquetil, the mouthpiece of democracy, need not have worried through three acts.

He had only to wait for the National Trust to take over. Out of Season By IRVING WARDLE SUMMER may be over, but the arrival of The Love Doctor at the Piccadilly Theatre is fatally premature: given another three months it might have passed as a new-fangled pantomime instead of being withdrawn (it comes off on October 24) as an outmoded musical. Not that the anonymous authors seem avid for prestige. Their quarry is the after-dinner middle-brow, and they let him have it with both barrels thwacking Savoyard music, and jokes that hit the barn door square in the middle. Moliere's medical plays furnish the cultural foundations that are now de rigueur in American musicals, but there is nothing beyond the name to connect Moliere's grimly deluded hypochondriac with the sprightly malingerer.

Mayor Argan, to whom Douglas Byng gives the simper of a travesty Dame. The opening scenes make you grind your teeth: the stage swarms with stiffly gesticulating, eyelid-fluttering, elocuting puppets who seem to have escaped from Coppelius's workshop; there is even a corps of junketing villagers in rooster tights and saucer spectacles, celebrating the betrothal of Argan's daughter to the undertaker's son. At the first appearance of this creepy suitor, matchlessly played by Philip Locke, the show gets its second wind. No conspicuous improvement in the writing follows this chilling trloment, but the production gathers such verve that you to work bard to resist it. SONNIE HALE'S last play, The Kensington Squares (Westminster), exhibits a writer doggedly trying to make comedy out of modern life without having the least sympathy for his subject.

The result is oddly wistful; skiffle, television programmes, and other ostentatiously up-to-the-minute topics are dragged in by the hair, but the style of dialogue and its comic references belong to the war years. Sorties into current argot make the flesh creep I dig you. my son." Thank you, Daddyo'; you can rock me any time you First Nights To-morrow: Antigone (Covent Garden); Make Me An Offer (Royal, Stratford, E.15). Tl'esday: The Man-Eaters (Bristol Old Vic). Wednesday: My Friend Judas (Arts).

Thursday Serjeant Mugraye's Dance (Royal Court.) Jean Cocteau, with his eyelids painted to represent the unseeing eyes of the poet in his new film, Le Testament dOrphie," now being made in the South of France. AT THE GALLERIES ACADEMY GUEST By NEVILE WALLIS A GENERAL ELECTION safely out of the wav. the theatre has returned to its normal state of divided allegiance between God and Mammon. much lhe most interesting event of the week placc a "rb.t of Mammon. and (Belgrade 1 heatrc).

a play by James t-orstn ongmally written for radio some ten years ago. but only now presented on the stage. It should he at iince (hat IroB suffers from the same as Under Wood It Has heen conceived in auditors terms and forcing an explicit vision on trie audience a good deal is lost Whit remains howeser. is quite enough to Justus, the experiment Fpj-Ii: time is 1943. and the place a 1 castle outside an English town, used as tl rest-home for officers.

An air raid lass waste the town, and among the nuns is discovered a monster whose monstrosity lies in the fact that upon an ordinary neck he carries an immense head, and a faceless one at that The officeis who discover him name him Irog. and hide him in a dovecot on the castle walls. They aie a curious lot. with a nervous addiction to alcohol or suicide. The riot turns round the effect Trog has upon them.

He is innocence, he is truth he is ther fore a tragic svmbol nd Mr. Forsyth has brilliantly managed to impose on him the quality of a alid mth For one thing. Trog has read nothing but a book of fany-stories. The Castle, in consequence, has a special significance for him. It will house a princess; and the princess will break the spell which lies upon him.

So long as the play deals with the disappointment of these hopes it is fresh and moving; and those who have heard Robert Eddison's' speaking of a part which never degenerates into whimsy will not forget it quickly. heny Morris, Peter Palmer and harles Kay in the chief supporting parts aie convincing, but the play sufTcis from dispersion of interest among minor events. Perhaps James Forsyth has attempted'too much. He has not only written the script, but designeo the sets and directed the pioduction. Also, he is not a verbal poet.

The language never takes fire, although at times it is refreshingly amusing. If we aio compelled to foigo our own fantasies and have a visible Trog set in front of us, we need a poet to cany us through, not a pessimistic philosopher who has built an obsessive idea about life into moving parable. DIEGO FABBR1 has done something rather similar in Man on Trial U.yric. Hammersmith). He, too, is not the poet he needs to be, hut a Latin Billy Graham brisked up bs touches of Lord Russell of I ivcrpool.

For his theme is diama-tic only bv implication A.Jewish family endlessl) re-enact the trial of Jesus Christ, in order to confirm the verdict, and on the way they call up a scries of witnesses some of them rested over the theatre -whose statements provide such action as there is. Chioe Gibson's vivid direction binds this difficult play together, and the cast, headi-d by David Kossolf, are all lesponsive to the Pirandello- McCowen and Judi INSTITUT FRANCAIS DU ROYADME-UNI OucenvhcTi Pia-e. South Kensmgion, W.7. Icl KtN 6211 frldaj. 23rd Ocloher.

at 8.15 p.m. Vint Rcui hi Jeanne Mamhon. Dianisl iSihntnbcrff Prize. Andrtf Hutelin, Pn-iirammc Sonaia Lmlo I ejiha. Manclh MihrfUniLi Mifoaho.

andellc. Inda), 30th October, at 6 p.m. RcuM bv Annie Jidr Ut Pne ot Imcrn.itionrtl Gcncwt Competition. l')M. programme WmK Maninon.

urelii Saini-Siens Sim.inoki. Racl Festival of Festivals By PENELOPE GILLIATT LEJEUNE This is a long picture (4-36 minutes). To my mind too long. By the time we reach the intended climax a typical Hitchcock scene of vertigo, on the face of Mount Rushmore, a memorial where the 'heads of America's dead Presidents are carved in rock some of us have lost the sharp edge of appetite. To read a thriller is one thing.

To watch it another. I sometimes wonder whether Hollywood, has seriously enough considered the point of audience exhaustion. 1 Too long or not, North by Northwest" is a film to see. You get a lot of entertainment for your money. You get a couple of clever, sophisticated screen actors and an elegant actress with a fine-drawn, exciting face.

You get one scene that will be talked about as long as people talk about films at all. And everything for, little more than of a glossy, colour-plated magazine, which in many ways this much resembles. THE most interesting of the other new films is yet one more Ingmar Bergman back number. Summer Interlude (Paris-Pullman). Produced in 1951, with Maj-Britt NiUson.

Birger Malmsten and Alf Kjellin in the leading parts, this is a nostalgic trifle about a ballerina who reads a diary, and is thrust into remem-, brance of a past love affair, between the dress rehearsal and the premiere of "Swan Lake." The scene is Stockholm and the idyllic islands near it. Emotion seems-, rather shallow. The charm of the islands is not fully exploited. One longs, to hire a little boat and go idling alone among them. The Bergman touch is there, but it is undeveloped Bergman, relying on flashbacks, theatre make-up and enormous close-ups with a lot of grain.

There are two British films, and neither is of epochal importance. S.O.S. Pacific (Leicester Square, director Guy Green) tells how a seaplane-load of characters gets stranded and nearly immolated on a Pacific island scheduled as a nuclear. -target. In peril are Richard.

Attenborough, Pier Angeli, John Gregson, Eva Bartok and Eddie Constantine. The Navy Lark (Carlton, director Gordon Parry), with Cecil Parker. Ronald Shiner and Leslie. Phillips, is a farce based on a feature in the B.B.C.'s Light. Programme.

1 They tell me that it's very popular. I have no particular fault to find with it, except that the humour strikes me as childish and undeveloped. It will undoubtedly achieve the kind of success it has worked for and deserves. manages to be stylised and natural istic at the same time, and he can switch from the oracular to the matter- of-fact without a jolt. "What is in your ayes? says the young hero rhetorically, watching his brooding, opiate-lidded bride as they drive away trom fneir wedding.

Kohl, she says peacefully, without bathos. No festival would be complete with out a poetic short on some impenetrable aspect of technology in this case there was a musing piece about aerodynamic research, with particular reference to nozzle design but on the whole the crop of documentaries has been unusually anti-romantic. It included City Out of a Canadian art film about Venice that cut meaningfully from the action paintings at the Biennale to a pile of outmoded sculpture in a rubbish dump. There was also a notable film about adult education in the illiterate areas of Southern Italy, called The Alphabet is Not Enough, in which an old woman who has spent her life within twenty miles of the coast writes a laborious essay about her first sight of the sea. Jesu, Jesu, it looked as if the sky had fallen down on the "Educa'tion is restoring the dignity of the South Italian people," asserts "the commentary at the end, while the camera gazes at an aged peasant at night-school with bis boots in a puddle.

The Goldfish, a beady-eyed French short which brings together a live canary, a goldfish and a cat and watches for results, was a prize item in the children' section and is to reappear, perhaps more suitably, at 8.4S on October 26. The cat practi- cally swallows the goldfish, nibbling, it gruesomely while it.lies panting on the floor but finally satiated with, previous victims? cryptically tossing it back into the bowl. This 'pleasantry is what is generally described as a cameraman's film, made with, a patient artistry that is rather unsettling. Plow many fish involved in the waste -footage? HANOVER GALLERY, 32a St: George Street. W.l.

SCULPTURE TELLEM' A DOGON from French Sudan Opens Tuesday, 20 October. Until 21 Nov. Sats. 10-1. ICA.

17 Dover W.l. PLACE An Environment of Paintings by Robyn Denny. Ralph Rumney. Richard Smith. Until 24 October, Weekdays 10-6.

Saturdays 10-1. Members free. Admission 1-. LIBRARY: HOMAGE TO MARCEL DUCHAMP. ARTHUR JEFFRESS GALLERY, 28 Daries Street.

W.l. Recent paintings by NORMAN ALEXANDER. Wkdys Sat. 101. KAPLAN GALLERY.

TTNGUELY Mela-Ma tics, from 15-31 October. 6 Duke Street, S. James's. KENSINGTON GALLERY, A wide selection of attractive 19tb A 20th century paitrlinss. Many under 35.

At 130. Kens. High W-8 LEFEVRE GALLERY. 30. Bruton Street.

W.l XIX and XX CENTURY FRENCH PAINTINGS. Dally 10-5 10-1. EXHIBITION November 2nd. Floe Old Mattel1 Paintings of the Dutch, P)cmish and Italian Schools. Jan van Goyen, Solomon van Ruysdael.

rHeter Bracthel the elder, Jan Brueghel de velours. PhiUps Wouverman. Heda. P. de Hootb.

Franz Post, van Ostade. G. Nctscber. etc. Nov.

2nd-30tb. Daily 10-7. Saturday 10-1. LEONARD KOETSER GALLERY. 13.

Duke Street. St. James's, S.W.I. WHI 9349. LEICESTER GALLERIES, Leicester So.

KEITH VAUOHAN Gouaches. CARL PLATE Paintings. DAVID WYNNE Sculpture. until. 21st.

MARUtOROVGH, 17-18 Old Bond W.l. ArTtN REVOLT GERMANY 1905-1925 Chagall. Kirchner. Klee. Kokoschka, Marc, etc.

Io aid of World Refugee Year. Open Oct. 12. Admn. 26.

Students I-. Daily 10-5. Sat. 10-12. MATTHIESEN CALTJERY.t PICABIA First London Exhibition.

Deity Sats. 10-1. Until November 1. 142, New Bond W.l. NEW VISION CENTRE GALLERY.

4. Seymour Place. Marble Arch, W.l. 5th-24th. HALIMA NALEZ.

OH4.NA GALLERY, 13. Carlos place. Gros venor Square. W.l. First London Exnlbhion paintings by BERNARD LIONON, Dairy 10-.

Sat, 10-1. REDFERM GALLERY, 20 Cork Street, W.l. Paintings and Aquatints by SOULAOES; Recent sainiuurs by PAUL FEJLER Hours UM. lixnibition closes Oct. 30tri.

OLD ENGLISH WATER COLOURS. Catalogue available Monday-Friday. 9.30-6 p.m. Sats. 9 JO jd.

12 aocw. FRANK T. SARIN. Park House. Rutland Gate.

S.W.7. EXHlBlllpN Of aKXrTTtSH CRAFTS Jtry. the Scottish Craft Centre at the Crafts Cefftn, of Great Britain. 1617 Hay HilirBerSley Square, W.l. alas Octofetito'7Ui ftoajsaayhaty.

10-5. Sat. MmtC Inc. DUNOYER DC jrtG4)r42UC I Drsrwinas. watcrcolours A engravings.

An Am CouocU exhibition. ROYAL ACADEJ4Y DIWLcSiA GALLERY. TCI 29 Weekdays f0-: Sun. 2-6, Atlmission J6d. NEW ENGLISH ART CLUB R.B-A.

Galleries. Pall Mali fiw. lOiS ttStoM-i Admission l6d. Coxicert with hucb UJOto 2.15 on Wednesday lis oaa. 6.

of lucid colour which unerringly establish the surface of shadowed water, and are built up in layers without loss of freshness to bring out the of wooded slopes or the solidity of buildings. Russian Pioneer Kasimir Malevich, founder of the Suprematist movement in Moscow in 1913, has long been recognised as a pioneer in the revolution of modern art. Familiar to every student is his "White on White," ultimate expression of his philosophical ideas about pure geometric colour-painting. Not long before his death in 1935, Malevich came to terms with the regime requiring Socialist Realism, and in the political circumstances it is not surprising that we should have to wait so long to see thirty-five of his earlier paintings with drawings and colour studies at the Wbitechapel Gallery, thanks to assistance from Amsterdam. His development could be viewed, like Mondrian's, as the search for an absolute.

But whereas the fascination of Mondrian's retrospective lay in his instinctive groping towards the only logical conclusion, the progress of Malevich, affected in tum by the ferment of Diaghilev's ideas, by the Die Brucke' expressionists, and the Bolshevik revolution, produced transitions considerably more abrupt and less predictable in retrospect. In this thinly strung selection the early luminous impressionism of a woman in a garden yields to his unwieldy peasant subjects, at first Fauvist and then blending the Russian folk tradition with the metallic cubist forms of the day. His non-objective creations are as dynamic as Mondrian's are serene. Even if the spectator cannot now share the peculiar exaltation of the pioneer who conceived himself "the new world-mind in whose brain a new flowering is being created," he can yet understand how these flying bolts of colour and mysterious shafts of light on lightness acquired a cosmic significance, and appeared to the Bolshevik revolutionaries in 1917 to herald the new Communist way life in a new communal language. In a full week, I must defer notice of such exhibitions as Picabia's at the Matthiesen Gallery, but would particularly commend now some interesting and little-known younger Welsh contemporaries at the New Art Centre in Sloane Street.

GUILDHALL SCHOOL OF MUSIC AND DRAMA Victoria Ifaakaakaaesit. loaia'Dti. K.C.4. Principal: Gordon Thome, M.A., Mus.B.fCantab.). F.R.C.O.

presents SCHOOL by T. W. Robertson, produced by John Holaate. at 7 p-aa. oa 27tb-3tk October.

Complimentary tickets may be obtained from the Secretary, Eric H. Day. M.A.CCantab.). THE LONDON PLANETARIUM, Marylcbone Road, N.W.I. Presentations weekdays and Sunday at 3.00, 6.00 A 8.00 p.m.

For further information telephone HUNier 1121. CINEMAS ACADEMY (GER. 2981). Ingmar Bergman's Latest Film THE FACE (X) Progt 5.0. 7.30.

CH. X-rd. Ger. 5385. Walt Disney's SLEEPING BEAUTY (U), Sep.

perfs. Today 4.15. 7.30. Mon-Fri. 3, 8.15.

Orch. 2.15. 7.30. Sat. 2.20.

5.20.. 8.20. Orch. 1.40. 4.40.

7.40. AU seats bookable. BERKELEY, W.l. Mus. 8150.

SENSATIONAL ADAM EVE (A). OH, SABKLEA (A). CAMEO-Poli. Lan. 1744.

Jacques Tati. MY UNCLE (U). London's longest laugh." CAMEO-Royal C.X. Rd. WHI 9I5.

An export licence at last for Robert Hoatein in Girls Disappear (X). France's Toughest Film. CARLTON. Whi 3711. Cecil Parker.

Ronald Shiner. Leslie Phillips. THE NAVY LARK (U). Progs, today at 4.30 A 7.15.- CASINO. Ger.

6877. Claaraaaa'i 7 Woadera of the Warld (U). Tdy. 4.45. 7.30.

Orch. 4.20. 7.5. Wkdys. 2.30.

6, 8.40. Must End Oct. 31. Now Bkg. South Seas CINEPHONE (opp.

Seltridges). MAY 4721. Sophia Lorcn, Maniana, De-Sica Toio. in COLD OF NAPLES (A). Michelrae Prcsle in HUMAN CARGO CO.

fAdulU only.) COLUMBIA. Shaftesbury Ave. REG. 5414. Aaatoaas of a Matter (X).

Today at 4.30 A 7.40 (Doors 4 and 7.20). AU nt bkWe. CONTINENTALE. W.l. MUS.

4193. Priest la) Plcalle (X). UtMboBsc Keepers DawsSter (U) CURKON. GRO 3737. Claude Chabrol't LES COUSINS (X).

Progs. 4.30. 7.20. DOMINION Tot. Ct.

Rd. Mus 76 TctW-AO Rodfcrs A Hammctsteia's SOUTH PACIFIC IXJ). Today 6. Orch. S.

Weekdays 7.45. Orch. 6.45.. Matinee -Tues, Wed, Thurs. Sat.

at 2.30. Orch. at I JO. All teats bookable. EMPIRE.

Ger. 1234. Proas. Tdy. 4.J0 A 7.25.

Cary Gram in Alfred Hitchcock's NORTH NORTHWEST (A). Wkdys, Fr. Ii30. EVERYMAN. Hampstrad 1525.

Today Tta Fortr-Plrsl (TJ), Maxim Gorki. Trfloty The CasWaood of Matrass Gorki (AI. A.B.C. FORUM. Fulham Rd.

KEN. 5234. TODAY A WK. S. Baker.

YESTERDAY'S ENEMY (A). THE REBEL SET (A). LEIC. SO. TH.

Whi 5252. S.OJJ. PACIFIC (A), at 5.35, 8.25. Proas. 4.30, 7.20.

LONDON PAVILION, Progs, tdy 4.45. 7.20. Peter Cushlng, Christopher I ee, Yvonne Fumeaux in THE MUMMY (X). ODEON, NORTH WEST FRONTIER (Ul. Colour.

Progs, at 4.30. 7.20. ODEON, M. Arch. NORTH WEST FRONTIER (U).

Colour. Progs, at 4.30. 7.20. Blind folk do not Want to be -rusted and they don't want pity. Whit they do need and tremendously appreciate if practical help, and this it what the rLN.I JS.

exists to give. It.ii our privilege to provide schooling, rehabilitation and vocational training, to supply Braille, 'talking boob' and specUlited equipment for -work and leisure use, and to mlntin a host of vetvices which help 'all' Britain's blind to lira happy, useful lives. the htlpJig htftd for all BrfhiiD's UM The Royal Ktn'onti Institute for the Blind CHERRY HEERIEUG WORLD'S MOST FAMOUS CHERRY BRANDY All the best Bedding THE LONDON CENTRE .13 INCURABLES -WM hlp men and women of tha MMdh Om fltcUd with Incurable ob oM vfhfi omn etn lor them Tbe B.tfff Y. wilcJy de pendent oovotunUiycavtrMiuuotu. BRITISH HOME HOSPITAL FOR INCURABLES, STREATHAM, 8.

W.I 8 ROYAL INSTITUTE OF OIL PAINTERS. 72nd EsJxi ration. 195 Piccadilly. Weekdays 10-5 till 6th Nov. ROYAL 80CKIY OF FAINTKftS in Water colours.

2 eonauit w.t, joint exhibi tion with Japanese Water Colour Society. Dallv xmiil Nov '5- IO-5. SauV 10-1. FROM HOOLEK TO KLEE Swiss Art of the Twentieth Century. Aa Ana Council exhibi tion.

JAIJU OALLEslY. Til) I NOV. Mod. Wed. Fri, Sat.

10-4; Tues A Thurs. 10-8; 2-6. Admission 26d. utinvs vraice ot Jrvuta British Fifttf Exhibition In iSe Series. 1939 on bv TERENCE Mill I AI nilv 4JO-4.

Sl. 0.i! 11. Imn jttiaet WArMjlNffTOfi GAL1XIUES recent paint-. lass. KATE NICHOLSON: 10-6; Sals.

10-1. 2. Cork Street; WALKER'S GALLERIES, 118 New Bond St. Paintings of Rivers and Landscape by ROY BEDDINOTON. also Recent Pattnlnfi by RONALD MORTON.

WHITaHAPKL ART GALLERY i Kaatmir Adieus Aldsate EaarnWJOat. -i WILDENSTEIN. iotst "sMaMttB by VILLIERS DAVTjPvT OaMlpy 10- 3.sn sats. io-i -i wfHsm. sjewar so, w.l priigs A drawas ALERIE JUVE DROITE 23.

Faubourg Salru-Hooore, PsrU lemg ANJdO 02.28. 'MAN RAY. Paintings, Objects, Collage-wockl I6tb October 14th Noventper, 1959 CHINA FAIR "4V tuSi w-i. Aru. craM, ttai Evening Events: Oct.

24-CWlxate ct. w-awaae ivotwen BcreeL Oct. 23 ijci. 21 Lecture fevotofaa. Dr.

Joi Chair Prof. J. D. Art as CMnt, Sir Herbert Read A Paul uiair; jmo jsersjet: concert. saw, YUGOSLAVIAN AB BUMing centre, store Lon- don, W.C.I.

Octol ooer 14th to November oth. ulai. It 3 p.m.XStturdayt 1 ojn.) SWITCH IKBHIRK. BtrlwaHtnrl Labour THE build: MttOB inelr For ii runuuirn. at tft akavm the VA Fmtnay Fair evt raw aih FJorar ait Ltbertrs aft aUsjeetSt.

mm CHEERING Acs rn TotMttVam CrjcuTRcaKllW. MUSeuni 166a VWUAL ARTS-CLUB. Seso Nudes oe Jean Straici-r alHSUMranJiv. t-O i LDING uN PtxTjtancaL but l. exllihitioo for ail Ihtecsatad la ttatd AT a moment when the Royal Academy must have been "hard put to it to find another senior member able to fill the daunting salons of the Diploma Gallery with fair-sized pictures and attendances, it has arrived at the happiest solution in presenting M.

Andrei Dunoyer de Segonzac, its honorary member. This collection of water-colonrs, drawings and engravings wisely omitting his oils in which the artist's hand loses its cunning and inclines to heaviness is comparable to that shown last summer at the Bibliotheque Nationalc, and brings us for the first time, with the Arts Council's assistance, a comprehensive survey of Segonzac's graphic art. It is an impressive exhibition which may hold spectators less, perhaps, for his more familiar water-colour landscapes of Provence and the lie de France than for the incomparable lightness and spontaneity of some etching suites culminating in the illustrations for the Georgics," the products oftwenty years of passionate absorption in Virgil; which appeared in 1947. WHAT -strikes one particularly in Segonzac is his ability to conceal, with something like Whistler's, delicacy and adroitness, his uncertain grasp of form, actually turning flimsi-ness to advantage when the purpose of his drawing is to convey the speed of a cyclist, the leap of Nijinsky, the fragility of a young girl in illustration 'of Ronsard's sonnets, or more triumphantly still, the partial dissolution of his forms in light, whether it be a straw beehive or his friend Colette's veranda, exquisitely indicated direct on to the copper plate. Anyone who has experienced the etching needle's habit of skidding over the slippery metal will marvel at the feather-light certainty of line and cross-hatch, at the tremor of leaves' and transitoriness of light, realised in these somewhat fragmented impressions done on the spot.

Segonzac's inability to realise the full weight of his volumes, even when that is so plainly intended as in the drawing of Simone is counteracted in his water-colour landscapes by the dense richness of his colour which serves a structural purpose. The initial drawing may be barely more than a scribble of scratchy Indian -ink lines. Substance is given by washes, more precisely by puddles PALACE. Ger. 6834.

8. Fri. Sat. 6.15. 8.45.

BENNY HILL in Fine Fettle. Shani Wallis. Robertson Hare. A E. Standard.

PALLADIUM. Ger. -7373. 6.15 and 8.45. Mat.

Sat. 2.40. Max Bygraves in Swinging Down the Lane. New Happy-go-Lucky Revue. PHOENIX.

Tem. 8611. Evgs. 7.30. Sat.

5.0 A 8.0. Mais. Wed. 2.30. Roar Uka Dove.

Now in Its THIRD YEAR. A resounding self-evident hit." Ken Tynan. Observer. PICCADILLY. Ger.

4506. Evgs. 8.0. Sat. 5.15 A 8.30.

Thur. 2.30. Ian Carmichael. Joan Heal. THE LOVE DOCTOR.

A New Musical. PICCADILLY. Ger. 4506. Com.

Oct. 29. 7.30. sobs. 8.0.

Kay Hammond, John Clements The-Marriait-Go-RoaaHl, a new comedy. PRINCES. Tem 6596. 8.0. Si.

5.30 A 1.30. Th. 2.30. Richard Bird. Marie-Claire Vcrlenc, Hugh Wakefield in The French MktrtM.

PRINCE OF WALES. Wbl 8681. 6.15, 8.50. SHIRLEY BASSEY. TOMMY COOPER.

A Revue. Bine Made. Terminate Nov. 7th. Open Nov 17th The World of Smle Woo.

QUEEN'S. Reg. 1166. Evgs. 7.45.

Sal. 2.30. Michael Redgrave. Flora Robson. Beatrix Lehmann THE ASTERN PAPERS.

ROYAL COURT. Slo. 1745. Thur. 7.30.

S. 5 A 8.15. SERJEANT MUSGRAVE'S DANCE. ST. MARTIN'S.

TEM. 1443. 8.0. Tues. 2.30.

Sat. 5.30 and 8.30. Joan Greenwood. Hugh Williams. Rachel Gurney in THE GRASS IS GREENER.

Directed by Jack Minster. SAVILLE. Evgs. 8.0. Sat.

5.15. 8.30. Wd 2.30. ATHENE SEYLER. ERNEST THESIGER.

HELEN CHERRY. JEREMY BRETT. AMBROSINE PHILLPOTTS. NICHOLAS HANNEN. THE EDWARDIANS.

SAVOY. Evs. 8. Wed. 2.30.

Sat. 5.30. 8.30. David Tomlinson. Margaret Johnston.

Irene Browne. John Slater. THE RING ot TRUTH. Wise, funny and rdmirable." D. Express.

STRAND. Tem. 2660. Comrn. 27 Oct.

7.30 Leo McKern in ROLLO, by Marcel Achard. TH. ROYAL, E.15. Mar. 5973.

Tome. 7.30. subs. 8. Sat.

5 A 8. MAKE ME AN OFFER VAUDEVILLE. Tem. 4871. Mon.

10 Fri. 8. Th. 2.30. Sal.

5 A 8.15. SALAD DAYS. A MUSICAL by SLADE A REYNOLDS. VICTORIA PALACE. Vic 1317.

6.15 A 8.45. Crazy Gang in new tevue CLOWN JEWELS WESTMINSTER Vic 0283 8 Sat 5.15 A 8.30. Thu. 2.45. THE KENSINGTON SQUARES Hilarious Ev.

Standard. WHITEHALL. 7.30. W. 2.30.

Sal. 5.15. 8.15. Brian Rig. SIMPLE SPYMEN.

2nd Year. WINDMILL Pice CIre REVUDEVIIXE 28ib yr 308th ed. (7th week) Com. dly. 12.15-10.35.

Last perf. 9 p.m. A Van Damm Production. WE NEVER CLOSED." WYNDHAM'S. Ev.

8.30. Sal. 5-30. 8.30 Wed. 2.30.

Brendan Behan's THE HOSTAGE. As funny at ten comedies Observer. Superb entertainment "Daily Sketch. The Stntfoi-d-twoa-AvoB Memorial Tkcatrc'a 100TH SEASON has broken all records. A company beaded by EDITH EVANS.

CHARLES LAUGHTON, PAUL ROBESON a ad LAURENCE OLIVIER has played to capacity since April. Now lhe Theatre wishes to inform patrons that there are some 176 teats available for certain performances. Write Box Office. Season ends Nor. 28.

DAVID SIM Dcncli in a scene from "The Importance of Being Earnest." CANNES and Venice and even Oberhausen may have their Film Festivals, but London has a 'Festiyal of Festivals. This refinement, which picks over the best of everybody else's programmes and this year also include some scoops of its own, has iust opened at the National Film Theatre with a week of shortj. and children's films; a fortnight of features begins on Monday. The plum of the critics' week has been Ray's The World of Apu, to be shown publicly on October 24 and November 1. The third part of his beautiful, lingering Bengali trilogy, it was turned down at Venice on the curious grounds that it bore too much resemblance to the two earlier films, which one might perhaps expect to be a characteristic of trilogies.

It is a very remarkable work, lyrically acted, cut with a slow, opulent rhythm, and filmed in a black and white that seems to have a bloom on it, like a grape. Perhaps because he is a realist working against a histrionic tradition, Satyajit Ray Etched head of Colette, by Segonzac. PARIS-PULLMAN, Drayton-tdnt. Ken 3191. INGMAR BERGMAN'S Iatrrtade (A).

Henry Fonda, Twelve Asm Men (U). RIALTO Ger. 3488 Nadia TiUerTTony Briuon, Th Restgli at Tba Saaooth (X). Directed, by Robert Siodmak. Today 4.30.

7.25. RITZ, Leic. Sq. Ger. 1234.

G1GI (A). To-day 5.15 A .8.30. (Organ 4.30. 7.45.) Wkdys. 5.45 A 8.45.

All teats bookable. STUDIO ONE. Ian Carmichael. Pater. Sellers, Terry-Thonus.

I'M ALL RIGHT JACK (U). 4.30. 6.35-8.40. Law prog. 8.20.

Drs. 4.0. WARNER. (3er. 3423.

THE NUN'S STORY OJ). Tech Separate performances to-day 4.30 A 8.0. weekdays 3.0 A 8.0. (Music 2.0 A All teats bookable in advance. PARIS CTNIiMA, BRIGHTON.

Nov. 5th to 25th. SRIAKESFEARE FILM SEASON. Please write for programme. ART GALLERIES Indicates open on Sunday.

AGNEW. R.Kent Paintings by Robert Buhler. Roger De Grey and Caret Weight. 43 Old Bond Street, W.l. AIA GALLKltY, 15 Lisle Street.

W.C.2. An exhibition ct work by new members. 1 21 Oct. Gallery open daily 11-6 loci. Sat.

ACKKBMATsJIW. Old Bond i arrect. tintbrtion ot old 5 porting Faintinas. fi.m. (Sats.

1 p.m.) until Oct. 31. Catalogue aid of tk Olympic Equestrian Fund. ARMY AST SOCTETY Commonwealth Institute, S.W.7. dairy IfMJO.

Sons- 2.30-6. 14th Oct. ix 1st Not. BEAUX ARTfl GALLERY, niton Place, W.l. Paintings A Drawings by ELSE MEIDNER.

Pictures by PETER BAER, H-E. CROSS. H. MUHRMAN. PERMEKE, ANTHONY WYATT.

etc. ALFRED BS.OD GALLERY, 36. Sackvilte St. Piccadilh'Tlondon. W.l.

AUTUMN EX-' HIBITION OF FINE OLD DUTCH AND FLEMISH I'AINTINGS daily 10-, Sats. 10-1 COLNAGHIi; 14 Old Bond Street. W.U Loan Exhibition of Old Master Drawings from the Collection of Dr. and Mrs. F.

Spriageil in aid of The Children Country Holidays Fund. Admission 2sv Illutx Catalogue Dally 10 a.m5.30 P.m. (Sats 10 a.m. to 1 p.m.) THE COOLING GAIXZaUES. 92 New Bond Street.

W.l. farmings by the 59 Art Group. Oct. 1.9th to 31u. 10.00 a.tn.-5.30 p.m.

Saturdays 1IM0 a.m. lo 1.00 om. DRIAN GAUfSKY, 7 Porchester Place. Marble Arch. Wl tit AXCOPLEY If it I The New York painlr--7tn to 24(h October.

Dally 10-6; Saturoayt 10-1. FINE ART MrCtETY LTD. lllh-20th Century Painting! A Watcr-Cotours. 148, New Bond W.I. 9.30-5.30.

Sat. 9.30-1. GALERtE Df: SEINE, II West Hal kin Street. S.W.I. -Oils and Gouaches by VERA CUN1NGHAM (1J97-I955).

-GALLERY ONE. W.l. (GER 3529.) Paul Mlllichip. paintings. CIMPELFIUI.

50 South Molton W.l. paintings irom 1952-1959 by XAREL APPEL. Closes November 7th. WATER COLOURS by Edrnoo Adis Conscbea by Roy Ttrner Durrani. Woodcuts by Marck Laczrntki.

October lOih-November 4th. Open daily 10 s.m6 p.m. Admission free. Sunday 1-5 tt.ni. Grabowtii Gallery, $4, Sloan Avenue, Chelsea.

S.WJ. THEATRES DUKE OF YORK'S THEATRE St. Martin's Lane, W.C.2. TEMplc Bar 5122. Ft.

at 7.30. Sals. S.O 8.0. Mai. Thnn.

2.30. PAUL ROGERS ROBERT SHAW in ONE MORE RIVER By Beverley Cross. OPERA BALLET COVENT GARDEN. THE ROYAL BALLET. I vbs.

nt 7 10 Tucs and Fri. I.e Pallneim, Antigone (World Premiere) with Bcnosova. Somes. Pineapple Poll. Wed.

Sai. Le Lac 4e Cnnes. Thur. Coppelia, Facade. Gov 1066 COVENT GARDEN OPERA.

Season open Oct 28 with L'nJ Ballo In Matcher. Programme available. Cov 1066. GOLDERS CRN. Oct.

26 for 4 wks. 7.30. Th. 2 The D'0)y Carte Opera Cojnpan. SUMKR'S WELLS.

Ter 1672. Evas. 7.30. Tuc Madam Butterfi) Wed. and Fn.

Andrea Chenler. Thur. Don GloTannl. THEATRE tHth FAMOUS NOV. 18th ROLAND PETIT BERGERAC OPEN TEM 7611 ADELPHI.

Tem. 7611. Com. Oct. 28.

7.30. subs. 8. Les Frerea Jacques. Until Nov 14 ALDWYCH.

TEM 6404. M-F 7.45. Sat 5 10. 8.30. Thurs.

mat. 2.30. Elizabeth Sellars. Peter Cushlng. Patricia Jessel In THE SOUND OF MURDER.

Most ingenious liveliest murder yam for years. D. Sk. AMBASSADORS. 7.30.

Til. 2.30. Sal. 5.15. 8.

7th Yr. of Agatha Christie's MOUSETRAP. APOLLO. Ger. 2663 Evgs.

8.0. Frl. A Sat. 5.30 8.30. Kenneth Williams.

Fenella Fielding PIECES OF EIGHT. New Revue. ARTS. Tern 3334. Last perfs.

Tdy. 5 A 8. The Marriage of Mr. Mlainlppl. Mcms.

CAMBRIDGE, Tem. 6056. 8.0. Sat. 5 8.15.

Th. 2.45. THE CROOKED MILE. Musical. COLISEUM.

Tem 3161. Evgs. 7.30. Sal. 2.30.

Sadler's Wells in THE MERRY WIDOW. COMEDY. Whi 2578. 8.0. Wed.

2.30. Sat. 5.30. 8.30.. C.

Morton. E. Peel in FIVE FINGER EXERCISE. Astonishing First Play Star. Masterly "Daily Mail.

2nd Year. CRITERION. Whi. 3216. Evenings at 8.30.

Mats Thurs. at 2.30. Sal. 5.30 and 8.30. Shelagh Delaney's A TASTE OF HONEY.

A smash hit success." Daily Sketch. DRURY LANE. Tem 8108. Anne Rogers. James Hayter.

MY FAIR LADY. Evs. 7.30. Wed. Sat.

2.30. Now booking until Mar. 1961 DUCHESS. Evs. 7.30.

Sat. 5.15 8. Mats. Th. 2.45.

Nigel Stock. Mary Hinton. Jane Griffiths. THE UNEXPECTED GUEST. Agatha Christie's newest whodunnit.

2nd Yr. DI KE OF YORK'S Tem. 5122. 7.30. Th.

2.30. Sats. 5 8. Paul Rogers. Robert Shaw in On More River by Beverley Cross.

The West End's best piece of story-telling." Times. FORTUNE. Tern 2238. Evs. 8.

Sat. 2.30. THE GINGER MAN by Donleavy. JUpi-oari- ously funny magical." S. LST.

WK. CARRICK. Tern 4601. Evgs 7.30 Sat 5.30. 8.30 Th.

2.30. Margaret Rutherford. Peggy Mount FAREWELL. FAREWELL EUGENE. GLOBE.

Ger 1592. Monday to Friday 8.0. San. 6 0 and 8.40. Mats.

Wed. 2.30. Ralph Richardson. Paul ScoBeld. Phvllis Calvert.

The CftmpJalianl Lover by Graham Greene. HAYMARKET. Whi )832. 8.0. St.

6. 8.40. Wed. 2.30. Nigel Patrick.

Coral Browne. Barry Jones. The Pleasure or His Company. As gay and entertaining a comedy as can be found in London. Sunday Times.

HER MAJESTY'S. Whi 6606. 7 30 Wed 2 30. Sat 5 A 8. WEST SIDE STORY.

A Musical with full New York call. IRVING. WHI. 8657. GLAMOUR GIRLS.

Non-Stop Revue now in its 4-yr. Today fr. 4 p.m. Send 276 for Mems. tckt.

LYRIC. (Ger. 3686.) Evs. 7.45. Sat.

5.15, 8.30. Mat. Tues. 2.30. Elizabeth Seal.

John Neville in IRMA LA DOUCE. Musical. LYRIC. H'smith. Riv.

4432. 8.0. Th. Sat. 5.0 A 8 13 MAN ON TRIAL, by Fabbri.

MERMAID. Nr. Blackfriars Sin. CIT 7656. LOCK ur YOUR DAUGHTERS.

6.10. 8.40. NEW. Tem 3878. Evgs.

8.30. Tuea. 2.30. Sal. 5.30.

8 10 Vivien Leigh. Anthony Quayle. Max Adrian. Robert Stephens. Meriel Forbes.

LOOK AFTER LULU by Noel Coward. OLD VIC. Wat 7616. (7.30. Th.

Sal 2.30) Mon. A Fri portaace at Being Earnest. Wed A Sal. Doa bit-Dealer (Use 7 pfs Thur. A Oct.

26 Ai Yoi Uka If. THE WEST LNITS BEST PIECE OE STOm -TELLING superior to any other play no rum. ins i-n 'he us ld mbbc The Times. i is Reterlo Cross triumph that for three act he keeps his audience agog lo know hii 15 ooinit io happen next an outstanding play." The Observer. i' 1 1 1 wits n.icd this plas is tense, tuuah and terrific Daily Mirror.

v. kept on the cduc ol mv s-'at for two and half hours and thai hasn't happened lor a Ion. um Sunday Times. mm A DELPHI FFOM OC FRANCE'S FROM ALLETS df PARIS CYRANO de BOX OFFICE NOW a.