The Observer from London, Greater London, England • 25

THE OBSERVE WEEKEND REVIEW, JANUARY 24, 1965 The Arts 25 Schools for writers HARRISON'S TRIUMPH 1 KEEP I IN I TOUCH SKI as if he might be present In tho studio, but he never appeared on my screen. Perhaps he was inarticulate with frustration, like the tame badger of whom we got incoherent glimpses struggling in somebody's arms. Hitherto, I have been inclined to stick up for Tonight in its present, admittedly tiresome running-mood, as not quite so abysmal as some of its more extreme detractors like to make out. But this inept treatment of a vital subject alienated mo altogether. Stone walls Prison documentaries aro aJwayi compulsive, disturbing, and, because tihey never show you enough of what really goes on, unsatisfying.

Granada's worthy Inside series is rather more detailed than most, excellently filmed, but sometimes a bit confusing, witih not enough commentary to guide you through the sad labyrinth of figure and vokes. The principal innovations, so far, have been glimpse of the effect of the sentence on prisoners' families outside, and rather more than we usually get about prison officers. Both these aspects showed up in last week's instalment about women's prisons, featuring the inevitable Hoiloway (including the Borstal wing) with its nightmarishly gloomy Dore-esque interior, one semi-secure but quite open-looking prison and a Girls' Detention Centre. The screen during tho women prison officers' group discussion was stolen by a tough, puritanical-aeeming young woman letting 08 occupational steam about tho emotional demands her charges made on her. We've got to give to them all the time.

They get everything. They're hist a load Df rubbish! Me I was different. I was brought up strict." One of her colleagues gently remonstrated that most of their prisoners were only children. But the effect, coming at the end of the programme, was a bit startling. Perhaps it was just as well.

The worst thing a telly prison roundup can do 19 to leave you in a state of cosy complacency. Jonathan Miller tests a weighing-machine with a tuning-forl in the film One Way Pendulum," which opens this week. puns and cliches and leaving his stings for the tail-end of each period. It wasn't his fault that ho never seemed to manage to get in anywhere. The Casino was, inevitably, empty except for officials.

Onassis could be descried only on a still photograph. The beach master did provide some quite lively satirical copy about vanished glamour. And there were one or two splendid anatomical exhibits, including a fuzzy belly that could have belonged only to royal Egypt. But the only celebrity to play up was Zsa Zsa Gabor, who doesn't count except on panel games. Otherwise the best individual turn was that aged English resident in the panama hat, looking like Somerset Maugham's younger brother, who had lived there for 43 years without learning a word of French.

Also not without a certain significance, was the local TV method of a charity appeal, collecting money over tie air for a beautiful girl in evening dress, masked to conceal her bums. As a confirmed badger-supporter, I found Tonight's item, pegged to the proposed anti-digging bill, wildly and all too characteristically unsatisfactory. Michelmore's sympathies appeared to be in the right place: on the side of Britain's most interesting, much persecuted wild mammal. But his interrogation of that professional badger-digger from Plymouth was woefully lame. The case for the badger as a doer of good was barely stated.

There was a casual mention of Mr Neale. author of that fascinating monograph "The Badger" (Pelican), PEOPLE keep telling me I hut George ukor, in his direction My Fair Lady (Warner). to use tha 1 wish I knew what 'hoy menu if. by way of analogy, a man were to stage Pygmalion as Shaw wrote it. without songs and dances, should therefore condemn him for having failed to use full resources of the theatrical medium? It is rue that Mr TiMial sense occasionally flags: when he gets his camera out of doors, the ceil Beaton exteriors at which he points it clash with one another a liule too cheekily, ranging in sule from the (Covent Garden) lo the semi-abstract (Ascotl.

Nor can I oe-ny that, except in the h.ite-song, "Just You Wait." where a siuati of visionary guardsmen troops into mind execute Henry Higgins. Mr C'ukor has not over-taxed his powers of invention. But such quibbles miss the point, which is that he has used the medium purely axid self -effacing! to re-create in the cinema a theatrical experience. My Fair Lady must bo unique among screen musicals in that most of the action is confined to one house, and much of it to one room the measure of its success is that we never feel the smallest tw-nge of claustrophobia. Pre-rhapsody It is not without flaws some of them inherent in the Broadway original and I had better clear my throat of these before proceeding to rhapsody.

Two of the credit titles are offensive: Screenplay by Alan Jay I erner." From a play by Bernard Shaw." How much more gracious to have named tho play and to have admitted that Shaw wrote most of Mr Lerner's dialogue! And the miracle of PiX-track stereophonic sound amplifies a couple of gaffes in Mr l.erner's otherwise immaculate lyrics She should he taken out and hung For the oold-blooded murder of the English tongue. you I and he will make it sound as elegantly yet majestically final as a trio of crashing chords at the end of a symphony. His eyes are mere slits and his stance is preposterously angular but he exudes that combination of the aggressor and the injured, the schoolmaster and the truant, which adds up in Britain (and elsewhere) to erotic infallibility. From the opening words of a number such as A Hymn to Him What in all of heaven can have prompted her to go? you know that you are in absolutely safe hands a supreme performer is in charge, steering you as a master helmsman steers his yacht. It is an increasingly rare sensation.

Frederick Loewe's score is as durable as anything in the wholo history of operetta. Apart from its other singularities, My Fair Lady is the only romantic musical in which neither of the principal characters has a love-song. The nearest Higgins gets to passion is to concede that he has grown accustomed to Eliza's face: a grudging tribute, surely. Yet we are moved at the end in a profoundly romantic way, thanks in equal part to Mr Loewe, Mr Leaner and tho incomparable Rex. and Theodore Bikel (Zoltan Karpathy) solidify parts that were formerly sketches.

Mr Beaton's interiors (like Mr Cukor, he is happiest indoors) are dominated by a resplendently panelled library decked out with Pre-Raphaelite trophies and choice Edwardiana: one's only complaint is that Higgins the monastic clubman would never have tolerated a sanctum so exquisite. Comedy master Which leaves Rex Harrison. In his first number Why Can't the English? he drags the tempo appallingly, and. the heavily italicised snarl with which he tells Eliza that the angels will weep for you makes one suspect that the whole show has been slowed down to accommodate provincial dimwits. Soon afterwards, doubts evaporate.

You can name on the fingers of one hand the masters of high comedy in the English-speaking world: they can dictate their terms in any country and any medium. Cary Grant is one of their number, and Mr Harrison is another. Give him a simple, helpless line like: "Damn Mrs Pearce, and damn the coffee, and damn A much less confident note is struck in the White chapel Gallery, which is currently housing a big election of the European Community exhibition organised by the Milanese industrialist Paolo Marzotto, who also genero usly awards prizes. The intention is good but the effect is confused. Nationality seems to be the base of the show, but Norway, Sweden and Spain are mysteriously excluded from the Community" and the exhibits are neither catalogued nor hung in national groups.

What is more, the 60 artists represented include no fewer than nine Americans, besides four Japanese, two Czechs, two Yugoslavs, a Cuban, a Rumanian, and a Soulih African. Nor is such diversity atoned for by unity of age or style. It is best to look at the collection as a slightly unusual assortment of a general kind. It seems as if praiseworthy efforts had been made to avoid the usual big names, but the result is slightly dispiriting. Alberto Burri's evilly crumpled, shiny Black Plastic confidently carries the winning rosette.

Our own lan Siephenson shares the second prize with Heinz Mack; their paintings are oddly related in style big and light, verging on the precious. STUDENTS' CHOICE Shaw would have hanged Higgins for that. As for: I'd be equally as willing That a dentist should be drilling Thiiti to ever lei a woman in my life it is quite an achievement to make Higgins, the defender of pure English, commit two syntactical crimes (compounded by a split infinitive) within the space of three lines. To complete the dossier of disdain: Hermes Pan's choreography conveys a general impression of plodding good cheer, but nothing more, and the rather leaden presence of Wilfrid Hyde-White as Pickering deprives "The Rain in Spain of the triumphant, explosive abandon it had on stage, with Robert Coote in the part. Nobody can play the early, unredeemed Eliza convincingly, for which Shaw is to blame.

In the Covent Garden scene, her hysterical wails are out of all proportion to the provocation offered by the fact that Higgins is at hand, taking notes. Like all her predecessors in the role, Audrey Hepburn is compelled to ham gamely away until Mr3 Higgins 's tea-party (Shaw's peak of pure as opposed to applied comedy) gives her a chance to act. Thereafter, the silver bells of her talent ring out a memorable peal, and Mr Beaton clothes her in gleaming sheaths of icing: note, in the ballroom scene, the long white gloves and diamond choker that camouflage, her tenuous arms and neck. It is only when she sings (dubbed by an imperfectly matching voice) that one misses the buoyant soprano of Julie Andrews. Stanley Holloway's Doolittle is juicier in close-up than it was in the theatre, and his Get Me to the Church on Time," orgiastically sung in a Covent Garden pub, is the most improved number in the show.

Mom Washbourne (Mrs Pearce) seem to have returned via Matisse and his American foUowerj to a point near to (art never quite recurs) where that great pioneer placed us 30 years ago. It is a remote, rarefied region which induces symptoms of mes-caltn-clarity, lightness and giddiness. The world with its problems seems far away. It could be called escapist but at least it escapes into coherence. Perhaps the clearest statement of this pure position is Mark Lancaster's Place witih lis huge white and cream squares like a giant's bathroom tiles.

The sculpture is mainly far-out in the same way but more positive. Again it is unemotional, impersonal, totally non-figurative. Again it is gay (mostly coloured) and professional. It would be wrong to expect a great, wedl-formulated message; but the means and energy to convey one is here, and that is a good augury. There's life in the young dogs yeL Waterloo Road SE1 Tel: WAT 7616 out nci AFTER THE average English private and public school education, the remainder of one's life, however unpleasant, cannot fail to seem something of a holiday.

In the twenties and thirties this dictum of Osbert Sitwell was much quoted by professional sensitives and romantic rebels, added as a P.S. in letters to old 'school-fellows sewing mail-bags while waiting to receive the cat for robbery with violence. But the wheel turns. Last week it formed, in effect, the anti-thesis for Simon Raven's programme for BBC-2's Writer's World about writers and their school days. The message here-rather speciously overstated, perhaps, in the subtitle Spare The Rod And Spoil The Writer was that most writers, by means of a judicious blend of cunning and compromise, emerge from school comparatively unscathed with a rich fund of experience on which to draw.

The specimens on view, a sturdy collection ranging across the generations from Kingsley Amis to Robert Graves, seemed on the whole to bear it out. Mysterious dawn Philip Toynbeo was the most critically detached, also the only one to attempt a diagnosis of the peculiar fascination, for the writer, of school life due to the heightened sense of drama which closed communities generate. Robert Graves, whose time-defying appearance on the box is reinforced by that light, dry, cupped voice like a perpetually youthful naval commander's, was common-sensical about Latin and games. Primed by Raven with the White Goddess and the matriarchal principle, he became tantalisingly cryptic about a mysterious dawning of love, essentially pre-pubertal that occurred in boys between the ages of 11 and 12. Raven himself contributed a rousing demonstration of the benefits of expulsion.

This, he pointed out, far from ruining his life, had taught him all kinds of invaluable lessons, everything from punctilious working habits to a calculated insurance policy against hubris and a comfortable world-outlook of elegiac pessimism." If only, you felt after listening to him, I could go back to school again, and try to do worse. The whole subject is so inexhaustibly rich that it really needs several programmes with different of schools compared in detail instead of being lumped together as here. Visually, it was a hotch-potch apart from the interviews, with anything they could think of to fill a hole, from illustrations to Buly Bunter to a clip from Stephen There were some delightfully evocative, misty stills to go with Laurie Lee's extract from his Gloucestershire village schooldays also an ingeniously edited film accompaniment to Michael Baldwin's Freudian excursus on sex differences in a primary school. Closed doors An hour on TV sometimes equivalent to a week anywhere else is a dangerously long time to give to a documentary roundup of so notoriously moribund a subject as Monte Carlo. BBC-l's These Humble Shores, saved up from summer to go with the winter motor-car rally, was rather laboured.

The indefatigable Whicker obviously thought the whole place stank. He might just as well have said so at once instead of showering us with CoQtbtiKd tram Paz 34. CLASSIC CINEMAS. WELbeck 8836. BAKER ST.

Lew Ayres. All Qnlet cm ft Western Front (a), 4.30. 6 5. 8.45. CHTLSEA rtua the raaslc from tha World I Mondo Cane x).

4.30. 6.3S. 8.50. NOTTING HILL GATE. Shirley Maclaine.

Jack Hawkins. Spinster (a). 4.35. 6.40. 8.50.

HAMPSTEAD PLAYHOUSE. Sex and tha Slnete Girl Prom 4.30, 7J0. REG 5414. Roger Vadlm'a new LA RONDE (X Jane Fonda. Programmes at 4.30, 7.20.

CONTINENT ALE. MUS 4193. Sean Oonnery 007 PR NO (A). Once Upon a Time (Ul. DOMINION.

Toil Cn. Rd. MUS 2176. CLEOPATRA (A) In Todd AO. Today at 6.0.

Wkdys 2.0. Evs. 7.0. Bookable. Last weeks.

EMPIRE. Ger 1234. 7 Great Stars in THE YELLOW ROLLS-ROYCE (Al. Metro-color. Programmes Today at 4.45 and 7.35.

EVERYMAN. HamDStead 1525. AU the best. Today Renoir's UNE ARTIE DE CAM-PAGNE (A), Vigo's ZERO DE CONTJUITE NIGHT ''MAIL CU), LA JOIE DE VIVRE (U). Monday: Vigo's L'ATALANTE (Al, Chaplin's EASY STREET (U), LUMTERE PROGRAMME (Ul.

GALA RYL, MfA. AMB 2345. Scan Conncry in Ian Fleming's GOLDFTNGER (AL GOLDERS GREEN IONIC. Sue 1724. Bergman's THE SILENCE (X).

Sun. 4.45. 8.15. Wk. 1.50, 5.15.

S.4S. Stanley Baker. Hardy Kruger Blind Date (A). INT. FILM TH.

Bay. 2345. Bergman's THE SILENCE. TrufTaut's Tlrez fiur la Plants te. LEIC.

SQ. TH. Whi. 5252. Rock Hudson.

Doris Day. Tony Randall in SEND ME NO FLOWERS (Al Tech. Proas, at 4.30. 7.20. all (hat Is movinc, fascinatinc." SPECTATOR OBSERVER ALL SEATS 6(5 i A highfy developed sense of touch will enable a blind man to play his part In i competitive world with confidence and skill.

Sl Dunslan'i has trained wmr-bfindedServicemenand wo men to follow many professions, crafts and occupations, and hefpi them at work and at home. PLEASE REMEMBER ST. DUN STAN'S IN YOUR WILL AI rnformcTJori from THE LORD FRASER OF LONSDALE (Chairman) ST DUNSTAN'S rtl Mtrykboni Road. Londorx. N.W.I (St Duntian i it rg itttrtd In occoroona with (Jw Noiionoi Aufnoncm Act, Mel) HALLGARTEN 'CHOICE SELECTION' turns every meal into a feaat "WiiiftB Bhipped by Hallcarten unequalled lor ihoir cotiaiatentJy tino (unJtiy.

Tbf extensive rang from 11 15) includes winea suitable foreverv kind of food arid occaaioa. All specially ealeoted by experts with special knowledge of vintners and vineyard. Special Selection FINE WINES From France and German! FINE SPIRITS AND LIQUEURS Glen 1st Scotch Whisky liqueur Nicliokjll Vodka (Hed Whit) Calvados "UnTroa Nonnaixi" Vrlte or plmne fur the Aw com plcte list ol llallEarUn sSff viutrH ciuti 5iir1lfl. S.F.AO. HALLUARTEX SHUT 1 1'mlchwl Friarn, London tf? EfLiT It uya Hi 1 6C4 llisea 5 ART GALLERIES iCcS.T 71 IS Old Rond Street.

W.I. MAY Bruce LACEY recent work. Until 30 Jan. Daily 10-5. Sals.

10-12. Adm. free. Also permanent exhibition of prints sad lithographs by KOKOSCHXA. MOORS, PIPER.

NOLAN, KJTAJ. T1LSON. eui MERCURY GALLERY. 26, Cork Street, W.l. DRAWINGS by PETER FARMER endl Feb.

6th. Daily 10-6. Sat. 10-1. W.l.

Peter Jones Relief Constructions paintings. Until January 30. NEW ART CENTRE, 41 Sloane Street. S.W.I. Contemporary Drawings and WatcrcokxssJ (Clough, Frink.

Hilton. Lowry, Sutherland, etc.) Until 6th Feb. DaOy 1CK6. Sats. 10-L NEW VISION CENTRE GALLERY.

4. Seymour Place, Marble Arch, W.l. AMB 5V65. INTERNATIONAL ALPHABET at MODERN ART. Contemporary Exhibition of Paintings bcujpturc.

Unul 30th January. OMEIX VLLERIES. Fine new tdeedop at llth-Ccntury and Contemporary pallidas. 22, Bury Street, St. James's.

S.W.I. PICCADILLY GALLERY. 16a Cork Street, 1. May lack SIMCOCK, Recent Paintings until 20 Feb. Dly Sat.

10-L PORTM. GALLERY. DOUGLAS EDWARD TAYLOR Naive? Paintings. 16a Graitoe St. Bond W.l.

REDFERN GALLERY. 20. Cork Street, W.L CECIL BEATON'S "FAIR also ORIGINAL FRENCH ENGLISH 1 ITHOGR APH5 Hours 10. Exhibltioe closes Jan. 28th.

ROBERT FRSER GALLERY, 69 Dux Grosvcnor W.l. Patrick CAUL-FIELD paintings. Dally Sat. 1 1-1. ROLAND, BROWSE 4 DELBANCO, 19 Cora street, W.l.

BERNARD DUNSTAN Recent Paintings Drawings and walcrccsotzfl by the Romantics. DEHODENCQ and PAUL HUET. Daily IO- 30 Sau 26 Conduu W.l. Daily 10-5 until Jen SIGNALS LONDON, 39 Wigmore St. Wd 8044.

Sculptures by SERGIO DE CAMAROO 10-6 Mon-Fti. I0-! Sat. THE PEGGY GUGGENHEIM COLLECTION Twentieth-centurv rtfuiung and sculp jrn. Arts Council ethtbujon TATE GALLERY EXTENDED TO MARCH 7. Mon WeU Sat.

10-6. Tues fhurs. 10-S Suns 2-6. Adm. 36.

TOOTHS I CONTEMPORARY BRITISH PAINTING by WILLIAM BROOKER, WILLIAM CROZ1ER. DEREK HIRST, HOWARD HODGKIN, ALLEN JOME 9 tn-vtn. Sa- 9.30-1 OO. January 30th. Jl Bniton Street, W.l.

TR AFFORD GALLERY. 119. Mount Street. 1 MOUNT STREET GROUP rif. UPPER GROSVENOR GALLERIES, 19, Upper Grc-rvenor Street.

I. CONRAI ROMYN till 26th Jan. ZSUZSI ROBOZ proof 27th Jan. WaDDINGTON Galleries. Paul WONNE Waiercolrs tO-6 Sat 10-1.

2 Cork St, W.l. WHITE CHAPEL ART GALLERY I The Mml- zouo PriTe Exhibition. Until I4ih Feb. Tocs-Sji 11-6: Sun. 2-6; closed Mondays.

Admis-moo free. Adjoins Aldgate East Station. WOODSTOCK GALLERY. 16 Woodstock at, W.l. MAY 4419.

Paintings bv Aubrey ana Dames. Sculpture hv Jcv Walkins. UnsH 6 Feb. Daily 10-6. Sats.

10-1. ZVYEMMER'S 26 Litchfield W.C.I. JOHN BRATBY A New Series lnd. sunflower paintings. Until Feb.

6Lb. LOUVRE GALLERIES make, your homo your castle vritb Fichl genuino woven tapestrie (after Aabusson and Gobelin), also the famous Flehl reproductions on tnm-Btrctchcd canvas and entire)' band oxr-ptdniatL Scad l6d. for iJusi rated coloured caiOffo. Dept. K.4 LOUVRE GALLERIES.

6. Duke Street, Si. James's. W.l or 13 New Bond W.l tp3isi i Aspre s) PROVINCIAL Tj. 6d.

pr a LRNOLFINl GALLERY 42 Triangle Wean. BrisioL DIANA VAN LOOCK palncma. ASH GATE GALLERY. FARVHAM PORTRAIT EXH1BJ IJON Until- Hh Feb. Ckwcd Mondayv BEAR LANE GALLERY, OXFORD Group mixed Lx by 1 3 WeWb rtis3.

Until 30 Jan. Open 10-1. 2-3. Th POP ART In StcTtnage. Pain(JoE or Jobs Whhelocli and Ray Littlo.

Feb 1-Fcb Tho College, Survcruuie- EXHIBITIONS 7," DANISH SYSTEM OFFICE Fl "RNTT1 "RE chansrinjt pcp3e's ideas aNnit come and see why. an aniu red uid '-iN: IN IE RfK Af I JI MGS. Berkeley Square HtMise. Berkeley W.l. THE HI II.IJING CENTRE rxhihition (ind I hildina mai eriaii juhJ cqmpmni NTW OPLN! tNCr RMFJ Mon Wed u) 10 llmni.

to TOO; B-ri h) lo 5.00; Sa. Siore Street. RACING CR SHOW, OlTmpia OA cm HaHl. Dailv umil Jan 'CVscJ kxUyV Admf tJon I Child 6i 10 -Q m. EVERY year since that dramatic moment in 1962 when Pop Art burst on to the British scene at a Young Contemporaries Exhibition the news cameras have been focused on this students show hoping to snap a new baby trend emerging, squealing, into art hKtory.

But a trend a year is too quick even for these days. This vear'; exhibition at the F.B.A. Gallery (ft I. Suffolk Street) is jum normally experimental. Bui it has one abnormality.

Us eonsi is remarkahle, especially when vou co si der th it contains works from students in 19 schcxils far apart as I-eeds and Cardiff. The small dissident groups in past years could be seen still plodding along in tho track of social realism or Euston Road academicism, are nowhere to be seen. Nor is pop art nor op art fnot a cigarette packet nor a pin-up i ei g-hl a nd no i ng Heraldry has almost disappeared. Weirder still, there are no kinetics; apparently not one was submitted. What is it, then, in which today's art Lidcns are absorbed Rmrghh speaking, pure painting.

vc can va se.s her ec a 1 the Ic of Kandinsky and vc critics to be some way of avoiding that opening speechlet by each speaker. Similarly in New Comment CThird), tho discussions are usually more illuminating than the straight talks, which are often read with an awkwardness that gets in the way of fho meaning. An energetic chat, lake the one between John Bowen and Robert Shaw, produces effects that aro worth while because they wouifnTt bo likely to occur in print. New Comment is a very relaxed programme, so relaxed that if they want to slip in a conversation in French they do. and monoglots have to lump it.

The big culture programme last week was a symposium about AE (George Russell) (Third), who was given an hour of reminiscence and assessment by fellow Dubliners, introduced by W. R. Rodgers. It was one of those thorough paste-and-paper jobs that seem lo be a preamble to revelation but lead to nothing much. AE painting cherubims, AB Incantirjg poetry, AE giving a one-hour discourse, to order, after tea, AE listening to others only when he was tired AE being pathetically grateful" for a kind word from Yeats it went on and on, peering at the man through a dozen or mora eyes, scattering images that never quite came into focus.

People talking among themselves about their own backyard can easily miss the point for tho outsider, who may well want a colder, bitchier judgment interposed somewhere. INDIAN PAINTING NOW. Ans Council at- hibitlon, COMMONWEALTH INSTITUTE. Xenstastoa Hisb Street. W.8.

Till Feb. 7, Mon, Wed. Pri. Sat. 1 0-5 JO! Toes.

Thins, 1D4 Suns. 2 30-6. Adm. 16. COURTAtrjLD INSTITUTE GaDerfes.

Wobarq Square. W.C:1. The Connanlo. Collection of Impressionist and Post-Impressionist the Lee Colleerfcra ot Old Masters be Fry Collection Exhibition of ENGLISH LANDSCAPE DRAWINGS FROM THE WITT COLLECTION. Admission free 10-5 (Suns.

2-5). CRANE KALMAN Gall err. 178 Bromnton Road S.WJ. NAIVE PAINTINGS OF YESTERDAY" ISth 19th Century Eni-ILiH Until 30th Ian. Daily 10-7; Sals.

10-1, 2-4 KNI 7566. DRIAN GALLERIES. 5-7 Poichester Place, Marblo Arch. London. W.2.

David GARLAND. Bruce KILLEEN. Lm NEG1B, Paintings. Daily 10-6. EDITIONS ALECTO.

Holland Street, W.3. Until Feb. 6tb. Original Graphics Coulu. Rotbenstein.

Open Mon. to Sat. 9.30-5.30. Thurs. 9.30-1.0.

YOUNG CONTEMPORARIES. F.B.A. GALLERY Pi Suffolk S.W.I. Weekdays 10-5. Sun 2-5.

Until Feb. 6. FINE ART SOCIETY Ltd. Paintings by Lead-ins Artists: Cent. Water-colours.

148 New Bond London. W.l. CRABOWSKI GALLERY, 84, Sloans Avenue. London. S.WJ.

Exhibition of Contemporary Prints by Known and Unknown Artists Dally 10-6. Phone KEN 1S68. GROSVENOR GALLERY. 2830 Davies St, W.I. ART IN THE WORKING ENVIRONMENT.

Part n. Until Ian. 30. PAUL DUFAU until Feb. 6.

Dally 10-6. Sals. 10-1. GTAfPEL FTLS, 50 South Street, London. W.l.

Bernard MEADOWS Drawings for Sculpture." Closes Feb. 20th. HAMILTON GALLERIES HODGKINSON. Paintings until Feb. 6 DaJy 10-6, Sats.

10-1. 8 St. Georse W.l. HANOVER GALLERY, 32a Saint Georse W.l. MANZU Paintings and Drawings.

Until Feb. 26 Daily Sau. 10-1. ICA, 17 Dover W.l. ARSHILE GORKY drawings Until Feb.

13. Daily lfr. Sat. 10-1. Adm.

1-. In the Library: photographs from Signos Graves Aigcr Jom. KAPLAN GALLERY, 6. Duke Street. St.

James's, S.W.I. IMPRESSIONIST and POST-IMPRESSIONIST PAINTINGS. Dady 10-6. Sats. 10-1.

KASMTN 118 New Bond W.I. MAY 2821. Sat. 10-1. EDWARD AVEDISIANl Paintings.

Until Feb 1 3th. LEFEVRE GALLERY, 30 Brmcra Street. W.l. XIX and XX CENTURY FRENCH PAINTINGS ON VIEW Dally 10-5 Sau 10-1. LEICESTER GALLERIES, 4, Audley Square, Gallery Guide I.C.

A. If it weren't for his forthcoming retrospective at tho Tato, the collection of drawings by Arshile Gorky, from the New York Museum of Modern Art, would be the week's talking-point. For a foretaste of this influential artist go and see them the last and best are like nerve-ends laid out on paper. MARLBOROUGH Two brave men stick their necks out 'but only a couple of inches. Lawrence Gowing, who is head of the Chelsea Art School, shows gentle oddly old-fashioned woodscapes plus a few beautifully executed designs: Adrian Stokes, who has just published tho last in his respect-worthy but daunting series on aesthetics Invitation in Tavistock 18s.) shows gentlo and oddly old-fashioned landscapes and nudes.

TOOTHS Six of the gallery's young hopefuls. Allen lones's Orange Skirt is a dazzler but this time Howard Hodgkin comes off best with three canvases jumping with life. CINEMAS ACADEMY. GER 2981. Tho Great Ronton Film of HAMLET rut.

Pas. J.5. 8.0. ACADEMY CINEMA CLUB (GER 8819. MEMBERS only.

THE RUSSIAN MIRACLE Monday to Friday, 6.0, 8.30. Saturdays 3.30. 6.0, 8.30. Sundays 3.30. 6.0.

B.30 ARTS. Tern. 3334. Original uncul version Bcraman's THE SILENCE. Menu.

ASTORIA. Char. X-rd. Ger 5385. THE FALL OF THE ROMAN EMPIRE U) Today al (.30.

Wkdys at 2 30. 7.30. All bookable. BERKELEY. MUS 8150.

Sean Conncry in Ian Fleming's GOLDFINCER (A). Tech. CAMEO MOULIN. Gi Windmill St Ger 1653. See the Girl in Ujc dish A on the wheel in DO YOU LIKE WOMEN (XI French Nudes in L'lLES AUX FEMMES MUES (Al.

CAMEO POLY. Lan Cames Grand Prix Al 3 Maor Awards Catherine Dcncuve In Deny's miracle ol Son and Colour Or CHFRBOURG (Al A Susannah York in SCF.NF. NUN, TAKE ONE (U). Pax. 4.50 7 40 CAMEO ROYAL.

Ru. Whi 6115. Dean Martin. JuLie'te Greco, Gilbert Becaud 38-24-36 (X (Colour) Unique Art Nudist PETER STUDIES FORM (Al Colour CARLTON. Whi 3711.

Sluart Whitman. Richard Boone. Tony Franciosa RIO CONCHOS (A). Col. Pross.

Tdy 4.40 A 7.20. CASINO CINERAMA. (Ger 877 4.30. 7.4J. Daily 2.30.

7.45. Sal. 2.30. 5.35. 8.40'.

HOW THE WEST WAS WON (l'l. COLISEUM CINERAMA. Tern llhl. LA FAYETTE till. Today 5 A S.

Dally 2 10 A 8 0. Sals. 2 30, 4 10 30 m. Mixed IF Ian Rodger's programme note was right, there must have been a few people listening with red ears to his play. The Decline of Conroy Wilkin (Third).

It was about a hack critic called Wilkin, a trend-man who has no scruples and just the one talent for keeping in with the fashion in all branches of culture. His phenomenon." wrote Rodger in the Radio Times, is alarming and real." Wilkin comes unstuck when ho misses the trend away from ageing Moreton Pen go, a Mediterranean-oriented writer, and sees himself ousted by a hatchet-voiced rival, Murdoch Price. The Cultmass has bust him. Barry Foster supplied a suitably drab manner, tinged with panic Rodger made him unnaturally ready to admit what a hollow chap ho was, but gave him and others, especially Penge, some juicy speeches. Cultural send-ups are usually dafter than the situations they're dealing with, but this one was very fly and wicked; it had a sharp point on it, as if Rodger really did have particular people in mind.

It's repeated a week on Friday, February 5. It would be nice but libellous to look for real Wilkins in neighbouring programmes. Television would (or even will) follow it up with a discussion called Intellectual Disc Jockeys Four Critics Defend Themselves," but radio still takes the World of Culture comparatively straight. The Critics (Home) munch their way through tho weekly book, play, film, painting and programme, Bpitting out a mouthful hero and there. They give a good average performance, though there ought LONDON PAVILION.

Ger. 2982. McUna MercourL Peter Ustinov, Maslmilfan Schell in TOFKAPI U). Today a 5.15 and S.0. METROPOLIS (VIo 0208, SSOO.

46731). WEST SIDE STORY (A). Technicolor. 4J0, 8.0. Weekdays 2.30, 8.0.

All seau bookable. ODEON, Haymartet. Wnl 2738. Walt Disney! 'MARY POPPINS (U) Tech. with Julie AndrerFsv Dick Van Dyke.

David Torallnsoa. Glynis Johns. Sea. Deris. 4J0, 7.4S.

Wkdys 2.0, 5.0, 8.0. All seats bookable Tfa, A Agra. ODEON, Lelc Sq. Whi. 6111.

Cary Grant. Leslie Canon, Trevor Howard, In FATHER GOOSE (TJ Technicolor. Progs. 4.30. 7 20 Feb.

16. LORD JIM. Book now Whi S5E9. (Sold out evs. Feb .16.

17. 18, 22, 23). PARIS-PULLMAN, Drayton Odns. Fre. 5898.

The War at the Buttons (XL One of the funniest Sims I've seen in years." Bernard Braden. Also Romanoff and Joliet ill). PLAZA. Susan Hnyward. Bette Davis.

WHERE LOVE HAS GONE (X). Tech by Harold Robbins. Progs. 1.00. 3.02.

5.35, 8.10; Sun J. f.U. PRINCE CHARLES. Lot Sq Ger. Slfjl.

Tdy 4.30. 6.30 8.30. Bon Office open 2 p.m. CHARLIE CHAPLIN SILENT FILMS NEW PROG. incL TUlie's Punctured Romance RIALTO.

Ger. 3488. Dirk Bogarde. Tom Courtenay. Leo McKem KING A COUNTRY (X).

Pgs. Tdy 4.40 7.15. RTTZ. Ger 1234. lames Gamer.

Eva Marie Saint, Rod Taylor In 36 HOURS A. Programmes Today at 4.45 and 7.20. ROYALTY CINERAMA. Hoi. 8004.

TPS A MAD, MAD. MAD, MAD WORLD (IT). Today at 4.30. 7.45. Dally at 2.30, 7.45.

Sals. 2.30, 5.35, 8.40. All Seats Bookable. STUDIO ONE. Ends Thur SEARCHERS (Ul John Wayne 4.30.

8.15. Pafansa Game (U) 6.25. Drs 4 p.m. Stalls 5-. 76.

Circ. 10-. ART GALLERIES "Indicates open on Sunday. 76 per tine. ROYAL ACADEMY.

PAINTING IN ENG-' LAND. 170O-1B50. 10-7: Suai. 2-6. AdflL 36.

ADOLPH MENZEL. Drasvlngs. ARTS COUNCIL GALLERY, 4 St James's Square. S.W.I. Till Feb.

13. Mon. Wed. Fri. Sat.

10-6; Tues. Thurs. 10-8. Adm. 16.

BEAUX ARTS GALLERY, Braioa Place. W.l. Paintings by JOHN LESSORB Sauu 10-1. CHAPLIN SILENT FILMS NEW PROGRAMME TODAY at 4.30 6.30 8.30 Including full langeh featirrs "TILLIE'S PUNCTURED ROMANCE" PRINCE CHARLES THEATRE Box office (GER 8181) open 2 p.m. The NatbnalTheatre ENTERTAINMENTS GUIDE atTheOldVic POOR MILLIONAIRE.

BIS. 3311. THE CARRIER BAGGERS 9.30. Peter Reeves 11.30. Din.

Im 7. 42- inch tinea. Easy pfci. SWISS COTTAGE ODEON. Pri.

3424. Today At 7.30. Walter Susskind conducts Royal Philharmonic Orchestra. SoSoLm Oeonres Tessier. io 15- alJ Beau bookable.

PROVINCIAL NOTTINGHAM PLAYHOUSE. Tel. 45671 I'vtiev 7.10. Sat. 3.0 A H.0 Jan.

27 (First Niahl). 28h 29. Feb. 5. 6: Ricbard II.

Jaji. 3d, Feb. 1. 2. fends): Double BUI.

OedLpiuScaftbi. Repertoire now book ins to Mar. 20th. ROYAL SHAKESPEARE THEATRE. Mon.

Jan 2V Social 2-wccJt THE ROYAL BALLET. Fvrs. 7.30. Mat. 2.30.

Sea i ('- to V'-. Sunt 'Avon 227 E. CIRCUS Bertram Mills Ore as SUPERSHOW A Fun Fair. Last week Jan 2. 7.30.

Jan 26 no show. Jan 27. 2fi. 2.30. 7.30.

Sat 1.45, Red. Prices Criitd nrc-served dw MERMAID Puddle Dock, Btackfriars, 1X4 Box Office: ClTy 7656 BOOKING PERIOD 3 for performances February 9 to April 3 Advance Booking already open General Booking opens Monday January 25 (post and personal application only) Telephone Bookings suspended until Tuesday January 26 Queue information: Queue tickets will be Issued from 8.30 a.m. (Box Office opens 10 a.m. until 6 p.m.). If the great demand for seats on previous occasions is repeated tomorrow there may be considerable delay In dealing with applications.

THE ROYAL HUNT OF THE SUN Scats, ac most prices lor matineci on Feb. 18, March A (20'-, 27.6 fof March 20 27 6 oniy Feb. 27. March t) ntcj ia-d HAY FEVER per1c-- THE ACADEMY CINEMA CLUB 167 Oxford Street. GER 88! 9 Members only UNTIL FEBRUARY 3rd The fascinating documentary study ot tho Russian Revolution and Civil War THE RUSSIAN MIRACLE A true picture nf Russian autocracy, enersy, brutality and patriotism." GUARDIAN THE CRUCIBLE fPlejse note curtain ialls pproi rnatety 10.55 p.mj il' jer'o'rrjnCM MUCH ADO ABOUT NOTHING 5-r-io G3-.

at 27 6 (or M.arch 6. 12, 19 evening Drformiric HOBSON'S CHOICE OTHELLO THE MASTER BUILDER La.sl Week TREASURE ISLAND 2 ID A 7 illy. Sat 2.30 5.15 8 Opening 2nd Fehnniry THE MARRIAGE BROKERS A Comedy Adapted from Gogol's Marriage by Robert Gillner. English Translation by Frederick King. Directed by Julius Gellnsr with Michael R.ilfnur SOvia Coleridge R.iNltI 1 difison ohn Ins F- el lev Ftunee Ho.ion Miles John MoMjtt RiL-hard Mooro February 2nd at 7 p.m.

S.40 Mly. Wed, Frl. Sat 6 8.40 Soutn AUOley St-, w.l. Annual nrw YEAR Exhibition of works by 19ih 20th Century Artists. Sats 10-1 Last week.

LORDS, 26 Wellington S. 10--' lncl. Sat Sun. Art Nouveau Posters A Objects. Permnlly Schwietcrs.

MADDEN GALLERIES, 61. BLAND FOR STREET, BAKER STR FT (1 1 1' OF FRENCH PAINTERS TILL 3I JAN McROBERTS TUNNARD Gallery. 34 Curon Sireei. 1 GRO 3S11. CONTRASTS VI unul Feb.

bth. MARLBOROUGH. 3" Old Bond W.l MAY 5161. Lawrence GOWING A Adrian STOKES, recent work. Until 6 Feb.

Duly 10-5. Sal-v 10-12. Adm tree. IConOnDcd Culumn SJ Immensely viell worth sccinu for Bvfe-inspirina and mimcdiule." The early material is unique, and MEMBERSHIP 25- p-a. For rrpertory leaflet, regular programme detail and advance booktyig facilities apply to: Mailing List, National Theatre, Old Vic, Waterfoo Road, London, S.E..