The Guardian from London, Greater London, England • 11

11 Emperor disciple BY ADAM ROBERTS review GALLERY and THIS WEEK by Gerald Lamer IN the current pattern of BBC-1 and ITV programmes nobody seems to try very hard on Thursdays. There's This Week (RedifTusion), "What the Papers Say" (Granada) overlapping with "Gallery" (BBC), and not much else. The commercial channel gives the impression that evervone has gone home, leaving an old film running in case somebody should switch on. while the BBC grasps the opportunity to put on an unambitious comedy show and Dr Kildare." In fact, the liveliest thing I saw on BBC-1 last night was Top of the Pops with the DJ of all DJs showing his even teeth and with that slow elephantine ballet which not even the Supremes seem able to excite. Most of the groups are at least picturesque, but it is to be hoped that toe BBC will soon run out of the Roy Orbison film they were fortunate enough to make.

This Week could hardly avoid dealing with the economic crisis and the. attack on sterling, and nor could Gallery spite of the fact that it is a very unpromising subject for graphic treatment. Neither programme had a good idea how to deal with the presentation problem, "Gallery" giving us a long, grim, and no doubt useful, history of the situation in lecture style with graphs and diagrams, while This Week asked a few people questions and then hurried off to the London docks to take a few pictures of exports. Gallery did at least end up with a good argument, but it was tough before that. IT is often said that a spell in a British gaol is a purgatory through which national leaders must go before they enjoy the fruits of office.

Khan Abdul GhafTar Khan, a leader of the Pathans (a national group of some ten million within Pakistan), has endured the purgatory but missed the reward. He "is aged 74, and has spent altogether some 15 years in British gaols and another 15 since independence in Pakistani gaols. He left England on November 21 after receiving medical treatment, but it is not certain how soon he will return to Pakistan, where ho is kept under house arrest. Though nicknamed a a (Emperor) by his own people, Khan Abdul GhafTar Khan is a modest and surprisingly unembittered man. After leaving hospital in Carlisle he stayed for a month in a very un-imperial room in Finsbury Park.

Ghaffar Khan is best known as the Frontier Gandhi," the close colleague of Gandhi who succeeded in leading his people, the traditionally warlike Pathans of the North-west Frontier Province, in non-violent struggle against the British. It was in 1929 that he started a group called Khudai Khidmathgar (the Servants of the Sons of God) who were pledged to do social and educational work, and to do no violence, even if others were violent. Ghaffar Khan repeatedly emphasises that the Khudai Khidmathgar was, and remains to the present day, a primarily social rather than a political organisation. Why had he started it? Ghaffar Khan says that he was deeply influenced by the English headmaster of a boarding school he went to when he was seven and stayed at for some ten years. He served the people," hs says, and the idea of popular educa tion so struck Ghaffar Khan that when he was only 20 he joined an independent movement to open schools.

He first met Gandhi about 1930 and his movement afliliated to the Indian Congress Party, which was calling for independence. He was greatly impressed. Non-violence is in Mohammedanism as it is in Christianity," he savs (he and his fellow-Pathans are Moslems), "but we forget these things. Gandhi's actions made us remember them again." Ghaffar Khan's work for the Congress partv was on the whole quieter and less d'ramatic than Gandhi's. He and his followers, when not in gaol, continued their social and educational work.

Civil disobedience was committed when necessary as for example in 1942 when the Khudai Khidmathgar, which had hundreds of thousands of volunteers," broke the law because they opposed the Indian Penal Code. They repeatedly defied bans on travel and on meetings, often ending up in gaol. The story of this resistance by the Pathans is little known, largely because the Khudai Khidmathgar literature and records were regularly confiscated by the British. AMONG the Pathans there was less violence than in any other part of India, and at the time of partition, Ghaffar Khan states, there were no riots at all in the North-west Frontier Province, in spite of the existence of a small minority of Hindus who would have been an easy target for communal hatred. Ghaffar Khan recalls that he once told Gandhi "You preached non-violence for years our movement is new but th'ere is no violence." Gandhi's reply was characteristic Non-violence is not the work of a coward but of brave men.

That is why your people are nonviolent." After partition, Ghaffar Khan was naturally critical, not of the concept of Pakistan, but of the religious intolerance that sometimes went with it, and of the one-unit structure of West Pakistan which, he believed, tended to deprive smaller groups such as the Pathans of a sense of local responsibility and cohesion. He says that although the Pathans have their own language customs, and civilisation, papers in Pushtu have been suppressed. In 1948 Ghaffar Khan was put in prison on the charge that he was against Pakistan." Since then he has seldom been out of prison or detention. Is Ghaffar Khan against Pakistan He strongly denies it. saying that he advocates, not a separate State for the Pathans.

but simply a more decentralised system within Pakistan. He wants the region inhabited by Pathans to be called Pukhthunistan. If the Pakistan Government doesn't want to call it that, let them call it something else that indicates an area inhabited by Pathans, Since partition, he claims, he has never advocated civil disobedience, still less violence. Yet his movement has been banned, and its training centre near Peshawar torn down "About twenty to thirtv of our leaders are still in he says This seems to have the effect of driving many Pathans into advocating total separation from Pakistan. A map used by a group of Pathans in Britain shows Pakistan and Pukhthunistan as two separate States.

GhafTar Khan believes that it would be politically sensible, as well as humane, for the Pakistan Government to reconsider its policies. COMMONWEALTH INSTITUTE EXHIBITION by Frederick Laws JULIUS CAESAR at the Royal Court Theatre by Philip Hope-Wallace THE COCKTAIL PARTY on BBC-2 by Mary Crozier BBC-2 redressed the balance of television drama, to some extent compensating for its poor showing on BBC-1. though this can only be a benefit to a limited number of viewers at present. Last night's production on BBC-2 of The Cocktail Party," by T. S.

Eliot, was very smooth and accomplished. The first production on television years ago was quite an event. When this play, and the others in the same style, were done for the first time on television, they showed that the curiously formal, reserved verbal sparring was illuminated by the technique of the small screen. Fashions in play-writing have changed so much in the years between that Eliot, once seeming obscure, is now as clear as daylight. But though we can almost look back upon "The Cocktail Party" as an old-fashioned and deliberate dramatic exercise, its extremely sensitive psychological penetration and its exposure of lives inextricably mingled, remains as fresh as paint.

A sad and mocking humour which spurts out from the characters as Sir Henry Harcourt-Reilly reveals them to each other, plays on The Cocktail Party and lightens the rhythms of the carefully balanced dialogue. Naomi Capon, the director had made this an effortless production. Movement and speech were all alike, smooth and perfectly timed, so that eye and ear could follow the shades of expression in the faces and the voices with complete concentration. James Donald and Daphne Slater were excellent as Edward and Lavinia Chamberlayne, while Michael Bryant gave a new conception of Sir Henry as "a Puck-like, rather than a ponderous, psychological healer. NINETY-ODD maquettcs entered for the Archibald Mclndoe Award for a piece of sculpture to be called The One Family of Man are now on show and on sale at the Commonwealth Institute Art Gallery.

It is the first time that this gallery has been used for sculpture, but as it is unusually spacious, sculptors can be expected to come along offering to join the Commonwealth. Willi Soukop's 1,000 prize-winning maquette was auctioned for 550 for the funds of the African Medical and Research Foundation and for Oxfam. I would have preferred his other, more abstract entry to win, but the judges have done well to honour a professional, inventive, and humane artist. This competition raises a familiar host of problems. We have a notable company of young sculptors who win prizes at all international Biennales, congresses, and the like.

They are not being given public commissions in this country, and must be pre sumed to be working for the museum or private market. The best known of them did not apparently enter this competition. There is no firm guarantee that Mr Soukop's group will certainly appear in front of the new St Anthony's College in the Woodstock Road at Oxford for which it was intended. But then there was once a competition for a piece of sculpture called "The Political Prisoner" won by Reg. Butler and where Is the final work Good liberal themes rarely finish up in cement even, let alone bronze.

Part of the trouble is the lack of a demotic, symbolic language for sculpture nowadays. No criticism is meant of the setters of the theme the human family is not an anecdotal topic demanding Social realist workers, academic classical impersonations or strictly UNO sentiments. So a whole pack of sculptors offered planned family groups, diving figures, acrobats, hand-holding sets of skeletons, totem poles. arrangements of spiralling steel, armoured guardians or watchers, sets of upright steel planks, geometrical objects of inordinate variety, piles of skulls, and fancy combinations of the straight line and the circle. The result should be studied by better sociologists than myself.

I am sure that the views of the artists concerned could be a help for International Co-operation Year. The other major difficulty was that the site was to be in front of a building of rare quality, judging by its plans an admirable piece of sculpture in itself. But then sculpture should not be a tarting-up addition to bad building, and it should be possible for sculptors and architects to get together as plumbers and carpenters sometimes do. In which case, some of the sculptors who were invited to supply scale models for this competition would get a nasty shock. Their final products would come out as big as a house and without room for garages and the ramps that go therewith.

grasp of office cleaners. The patricians wear togas over trousers, jerseys, and later revert to cycling togs. The supers are too few anvl too vociferous to suggest a mob." Both Jocelyn Herbert's brazen murk and her abstract metal shapes and the music of Marc Wilkinson (including an eerie sound like an aeolian harp combined with aton-up bike) added an extra emotional dimension. Yet there was something curiously unheartwarming about it all. Ian D.

Bannen misses the essential gravitas of Brutus a pervasive note of ruminative self-pity established itself and when in the quarrel he let forth real firc-powcr it was too late. The character didn't grapple itself to the heart of the audience and the death meant very little. T. P. McKenna made a striking Cassius Daniel Massey a not undignified but rather too unambitiously drawn Mark Antony.

Paul Curran as Caesar, Shiela Allen as Portia (in her little scene), and Graham Crowden as Casca were noticed. It is quite good plain Shakespeare, but wanting in richness. "piIE English Stage Company's "Julius Caesar," produced by Lindsay Anderson, boded something darkly odd and quirky. One expected much sackcloth and ashes, with perhaps a few suits of knitted leather. In the event nothing much funnier had happened on the way to this forum than A Cuckoo in the Nest last month, and what we saw was a sobersided, russet and bronze presentation which had the enthusiastic resonance of a very superior college staging.

Plenty of voice was available and advantage was taken of the small size of the theatre to provide contrast in lowered, murmuring tones and conversational levels. The words came over well. On the other hand, in a theatre such as this, the Roval Court, one is painfully on top of the "mechanics of it all the murders and Roman suicides. Corpses visibly breathe. There is somehow a great deal loo much wood, dead or not, around a suggestion of people stubbing their toes or dropping crash-helmets on to the fields of Philippi with the dull thud of wastepaper baskets eluding the LONDON THEATRES THEATRES MANCHESTER VltrrOHIA TALACK.

(VIC. 1M7.I Nllj 615. 8 45 TV's Fjutett Spectacular, THE ni.CK AMI WHITE MISSTKKL SHOW. N.w la 3rd year. Boohlnjt until 1P65.

or hit a noi For 2 uteki Evj3 Bl I7KJ at 7. MaLs Wod and OLIVER London's Uingt-t Running now Ma llfth (abult'tus vt-ar 1 hf Oipw for thf tamilv Al-HWSril ROVAI. CO ATnrr Nlcltt Cunif iT(l CVx' lO cr.J-t Jew ul Mjlla ijJ.h 7 6 A t--c. 11, irt.tr iTu V- 7 1 ildit Mjraladf (Wtd 2 A- 7 30 fi. ivc A rndcamr iT!) A- IX-c 4.

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Mil solt-tafrr. t.iMlli'. MiltlaiTt-. I.ltrlle StH-ond u-ok Mm ihr Jdrini tiuutj Tit. I'jlltif urs, Ihr linv W-d Mj! Iti Mvrpinc Riam.

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(Juiiitn. ummrr' Trie Inviia-llon; F. in t-ake. An 11 ijuintvi. Summer's llic Imil.Hinn Pno-s for the am.c 1V-.

12 'i. 7 ti. icvjr.s and Sdt mat I. 1J6 10-. 7 it 6 4 6 mat BRIAN RIX in CHASE ME COMRADE I A storm of laughter." Financial Time.

MU LVItK. Ilammrri.mith a.ljclnlhfi cur parKi. Illlv 8557 1 THE UV-tWAim WAY. Men t' Frl S. Sa- nnd f.

Thurs 2 3d. Hllarlrus Mulcal of iT TT1E DRL'SKARD rtlivo Irtim Hollywo-Kl atlPT id roo-rd run. "Clip and pall (ft pnttrfly v-'n me ovw Dally Mall. OI.11 VIC. THE NATIONAL THEATRE Tomcht Wed.

A Frl next 7.45 HAY FEVER 5vit. Tftur noxt at 2 30 A 7.45 THE MASTER BUILDER Tuctdtiv next 6 OTHELLO AMIlNSDOKS Hem U71 Evgs 8. Tue. 3 45. Sat 5 15 A 15 'i THE Momentoua Ywi POLLO iGer Ml 3 30 Th Sat 5 45 3o ies ie Phtiiiix not iNti-iim im.

ith Pa rick r.irei.i THIRD MANCHESTER CINEMAS kic AitmwcK. AiuiKkk n. ai rsi iaj i5o 5 ij. 40 Ainnc In Muciw IU) at 3 AO and 7 5 AlIC ML iS'Mi" I DfcA 5252 At 2 10 50 8 25 Sophia Uirea Today, and lomotrou iKl ClM-l'6Sfc. ljtkn Mitfi DtA 'nn.

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'Si nVw MXniltl), ntard Street CK." 34' 12 I-llTr. 7T1I IAI 2 20 5 1 5 Siiincs Acitn OJl 1 30 4 35 23 Om.OV tixti.rd Mreft C't. SHI It AI 12 10 55, 5 40. bit It iMjuilnthf Sun lUt 2 4 50. 7 40 STO 3MS W.i'lim Hr.ldrn Suwinnaii York lllh II VIA IAI lech Tf-djt Ui 3 25 tSa'iifday 530.

251 IU- Wtlmsluw 1 lit. HOI KS i ret 1 Ev-'m 5 jO and SO i its i ti it- t77 wi 2133 t. 7 li Cetiner llneho'cJt's MMtMI. Xt IV-h at 53V. J5 SOPHOCLES and MOLIERE by Garcth Lloyd Evans I HAD not thonght that I would give Moliere precedence over Sophocles but the Nottingham Playhouse's double bill left me delighted by the former's comedy and bored by the latter's tragedy.

That Scoundrel Scapin," adapted by Geoffrey Hutchings, is not one of Moliere's best it lacks the precision with which he customarily places comic insult, and the sense of inevitability in the enormity of the plotline. Nevertheless its skittering absurdities and bludgeoning satire are acceptable, certainly in Digby Day's production. The keynote is pantomime, visually, and in verbal tone say, I say, I say Christopher Hancock as the miser, Jimmy Thompson as Scapin (an inefficient Panderus) in particular underline these intentions with some tricksy and efficient overplaying. This sharp sweetmeat was acceptable after the indigestible meal of Oedipus the King in the translation by Dudley Fitts and Robert Fitzgerald. This translation veers between an inelegant flat idiom, and manufactured high poetry, and is perhaps the root cause of the company's at Nottingham Playhouse uncertainty, not to say uneasiness.

John Neville, who has all the contours of the classical actor in appearance, voice, and technique, fell short of dignity, passion, and agony. These flitted on the surface, dragged up, one felt, by hooks of technique. Margaret Rawlings's Jocasta, with a voice of gold, nevertheless dissociated itself from any real contact with interpretation. Not to be unkind, but simply factual, its basis seemed to be Are you sitting comfortably, then I'll begin in a deep voice. The chorus, attired in mop-wigs, made unison a hit-and-miss matter, and audibility a thing of guesses.

The set, dominated by a huge, lewdly modernistic statue of Apollo, was claustrophobic witn-out conveying the essential oppressiveness of Thebes. Only John Phillips, Richard Hampton, and Ronald Magill suggested the power and dramatic logic of the original. It could be that the director had fallen into the modern trap of dramatising the classics. In trying to give Sophocles's overwhelming passion too local a habitation and name, he succeeded only in reducing it to emotional prankishness and occasional dramatic absurdity. Cram Dor 7 E.ES.

7 Sn' A 8 CRAIG DOl'HLAS a w. vpislon of the "Ml No M.NI-TTr. For 3 wieJtA E-. at 7. Mais Wort ard and thf il'i'ik' me iles el ntmaiii Priivs Ifi C.

it- 5 6. 2U WVNIHIAM'S. (Tern 302S Eve. 8 30. Wed.

3. Sat. 6 and 8 45 CHARLES HESLOP. ELSPET CRAY, and JOHN CHAPMAN lo The Diplomatic Baggage Non-stop laujthter "Dally Mirror. An uproarious evening Queen II MPSTEAU CH'II.

tPRI 9301 Until Dee 5. Jess Courad. Vladek Sheybal In IIK WHO GETS SLAPPED, by Leonid Andreyev -F 5 A 8 15 POOR MILLIONAIRE. 33U. 1SS II: thnpsKKtr KIIOM ni SH-HOi WITH LOVE.

42- inc. dnct Euy parkin TALK OF THE TOWN Dlnlnj: and Danclni 10 Revue Roman Holiday, and at 1130 T1IK HARRY SIsTI.Hs He I 5051. ic Ftb ii Hop I of the Sun, Th Uot Oltice tel WAT "file BRUCE FORSYTH lu tJio Hllarniiia "LITTLE ME i iln'w ntHTc cniiis ni.t) rut imicr I'll; ihrr mc'lirr" Tt'iirrmh SUODFN ALTERATION Sal.s. 2 45 7 JO Crmtii 2.t at 7 U) pin TtUTva Iter Kir a A- 15 ni M.i'.t 2pm niK nou nm miou utih rtir Kar Ihr ItiilarmuM Nilwlli HOOKNOV 2h 10'- tWI.Vl i'EN -H Kvp(v '15 "W'tlS-ana S.U.- 2 30 Pi.nrere KKSSFHI MORE MIIJ.ICEM MARTIN it, (11 MV.N CltlillKt-s a inuun: rno oa Barric The Artniit.iMr rni-moM i rn morftamhk and WliSF III! MtH'IMi III- wi r-FIHNn IK MillMiK NEW FILMS IN LONDON by Richard RotttJ rpHE reason why so many recent thrillers have been treated as parodies of the genre is not, I feel, difficult to find. Taking a sood hard look at their scripts, directors have come to the not unreasonable conclusion that in trie tongue-in-cheek treatment lay their only hope of getting by.

Not so, miraculously not so. with "36 Hours" (Empire), which is scripted and directed by William Pcrlberg Based on two short stories, one of them by Roald Dahl, 3G Hours" is a lirst-class commercial film. Commercial is not used pejoratively it simply defines the scope of the film. And within that scope, it comes close to perfection. Vov one thing, its stoiy is exciting, compelling, and ingenious.

For another, the direction does not get in the way of the story technique is invisible, but effective. Not so invisible as all that, however, for -Mr Seaton gets better performances than one would have dreamed possible from the two male leads. James Garner and Hod Taylor, and the fine one that one expected from Eva Mane Samt. But it is the story that counts Obviously one cant give it away, but the basic premise is too uood to keep. A few days before D-day, an American intelligence officer, fully briefed on the invasion plans, is spirited away from Lisbon to Germany.

There he is placed a military hospital of the American Occupational Forces Faked down to the last detail, the camp is stalled by Amencan-sneakinq Germans When the officer is brought round he is told that he has been an amnesia victim the war is over, the Allies have won. and it is now 1930 The ranm news- IMI.UK iOef tM4 7 30. Wed. Sal. 2 30 i in: sot of Mfsic.

n.t by Uoecs. tt Itanimcrsif.u. Lindsay A Croasr. PALL.IHI'.M. tier 7373.) 24 -hour jervir.

15 nd 45. Sat. IST 3 WEEKS. Krankte Vftusiwin in START I ME, vniti T-mm Cll'a Bl.uk. Thy 1-V-ujtti H.

8 15 Sat nd Dec. 2S 5 30 8 15. Th. 2 15 MaiKarct LOCKWOOD, Dcrrk FAR It. Diane HART Julia LOCKWOOD.

EVERY OTHER EVENING I LONDON ART EXHIBITIONS Mimun nth iii 1 1 MUKHIfN Mt ifif- i.Ki EDITIONS ALtTTO, Th Print Ccntr. 8 Holland strftt. Until Dec 5. ALLEN JONES LITHOGRAPHS 19GO-G4U Open Mon to Sat 0 "K)-5 30 Tbur 9 30-1. LMCESIKR GAIXEHH'N.

4 Audley Sq SHi. Audlr, St W1U.IAM TOWNSEND. New Paintinw and LTaincs MARIT ASEH AN Nfu EnanieU HMU Saia lf-l tsi mi- uir.iNNiNt. -y Ch.w ROX OFF I CV OPEN ill 0 -T 15 Ut)ni-I(t 226(i nil- with Cilli tST.MAS Illt.MItt It Ol AL CI.Nt.lt MA IlLt Monia Fndav 2 3rt scO 7 15 Saturd.n 2 7 4t riundav 7 CIlrMNSK I IAIN iUl TtHi Suwr Panavuii 70 ut i vi, v- 't-xmab'f- I nt llr IM.TtMl "Jhd TS A SINGULAR MAN Clt. LKIILIUO.N tVh.

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Ev 7 4i -t. 3 45 i 45 Wed 3 Joan S-ms. Paul wii.tvun-J,i:,i-, Vre-c. WnllaA Entn. INSTANT MARRIAGE "A n.t muMCl lTie w.in 'aujhter Nev.

1 was exhilarated The how IU have Ion run net itr kioim; 11.) -i 1 A1m LONDON CINEMAS VOIr Ml itI jyil 1 Ltl'K IfblDk. HOW (Al 1 4j. ti. 3 15 L-ilt Mm Sun in l.t (.11 Willi IIMif-H ill) I.I Mr (lO. A AO ARI! RKPTII.irW! f-i-n in 1'ASriNH Mc.tl I llTTLm lot" IT- il I (M'iu'wo Sjnrtu 7 CU iMt'tnNrsi i I.nc; ihl- Si -i5 inv.

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30 Bmton Stteet W.l. XIX ANH X. CENTtlRY FRENCH PAINTINGS AMI ATL CO LO I RS. Dally 10-5 Sals. 10-1.

MKi.nouovcm. aa ow Bnd w.i. MAY 5.t"" Vf Series ot Llthoempn by 0KAIt KOHOSCHKA. HrUa KlDI Ier nd Apullan Journey JOHN PI PY h. nrs ot Chutchen of England.

New UtlHTtaphs by IIKNRY MOORE. MDWt SOUS GRAHAM SUTHEKLAMt and Print by R. B. KIT.VI and JOE TlLoV All wtrfc lor wl-. Until Dtc 33 Pally 10-5 Sat 10-12.

Adm. tree. MARLBOROIG11 NEW LONDON GALLERY. 171X Old ll.mJ St 1. MAY 5161.

fitOKitE Ft Li It I. reotnt worlu Until ix-v 4 lo-ft San 10-12 Adm free. KOI AM' BRoHsr JL Ht Cork street. W. 1.

tHRITMA I ST PXII1KITION DalU 10 5 3A SaU 10-1 0. MAX BYGRAVES ABOUT PICCADILLY Ri-'-ue. Fabukus Settittd 'si no m.rth the pr of eke' tyt BUXTON IS YOUR JOURNEY REALLY NECESSARY MARLENE DIETRICH til tl.N Ki -ii. li. 22.

ju Mib or.i tuny. TOAD OF TOAD HALL CAMELOT uum --f. in iu su4 mt w-d' i Ul- MIM Ml iom fx in s-uir i-k Worid UaU.l'-.K 111 Mu hi nd U-V'-fc bv IU rn COVENTRY 1 MIL TON -Will J71I 1 6 DAYS I lilt. Illicit I A Iv.vci i is 5 53 a .0 L1NI tlN.KM lOtM t-77 2 Ml I 45 SJ 5 So 3 4l Syr. 4 Ml.

4j mm nit: wlst won an nKt It sr I-tif tonient. II 15 Whrn CnmfrtT Uj Kins I I OI.It I 1M.K VM Tom JIfil 1 I UK MXI.NUHI.M MlmUHN (Ul 2 30 )U Si 2 Mi 5 43 JO II JO StjtLS 3 0. 5 coi.i iR.i; 54H i E.l- Pres.i iJ.iri,ir StAt. Hi UOtM'n01T llt I -li Dii: 1 15, 3 J5 55. 20 toMI'ION.

I 45.W i OL('4 f'lKLS NOT lONK.HT lit Nil Mma 10- DOMINION, lu tourt llnad iMui 2176 i I I 1.1 Ul'Oin lAi TooJ-AO Mm 2 he. i(- 7 uLdivj 4' All vXible rjAMI.Lt, ilem M.ll HARRY SECO.MBE the P.CKW1CK Co arc on holiday IV- com- MON VENT ev h. 3 MVrM KOUAN JLLLR. -it Lowndes SL SW I. BELsravla 34'Q tk by Gallery Artlita.

Nov J3-lec. 23 Daiiy 10-6. Sat. 10-1. SOCIETY OP PORTRAIT SCULPTORS.

R.W GALLERIES. 2d Conduit W.l. Daily 10-5 9 30-12 30 UnUl Dec. 1. TIMSIW STA.MP EXHIIHTION, Nov 23 11 at Hue House.

54 Resent St M.in.la.v-Fndar, 10-5 WADltlNt.TON GLLltlKS PATRICK HERON Revcnt Pain tins. 10-6- Sata. 10-1. cc.rk Sirc-t 1 paper is even full of such fascina FOItri.NE iTtm IT A MIMM New Rtfue ft 5 3t' JU A f.wmt thf uul' 11 Mi-L l.KlMCk tTfin iwl i E.i- i Wed 2 JO. 5 '5 v1 Ni -n 2nd Yea.

Rubtr. BEATTV nd R-moiid HUNT Li. DIFFERENCE OF OPINION sAUJY Teni SO. Wed. 2 30 CM! C-urtht'd(.

Marti Sievens. Qjilles HIGH SPIRITS HOl Ml 1HK UOICIII IN m.l!T IMVS iv iv rnib MM IIOIM. I'MUniM) LIVERPOOL Ai; o-her Par- MUKIKNttl I'- in Ct.tl. Uc ra: 3 Pt Til.OK lNC t. CO.

A nuj Tiv? Tinw. Don't waste fares, petrol, time, shoe leather. It's cheaper to find out first 'TPrn nlr.g (ilOHt. lOmrd arcr t. FdArd Aib at 7 30 MC.NS.

tO LONDON CLUBS EIVMl'MH ROS 'Lt'lt DKv? and DaiMI from 1 tn Revue Fine and lind). Sewnd 13" m. 1 Ot LIr Res TJ75 1 1r1iii Iti. i Fvi Mi UK mj 1 -1- j-itiv-6 T. 3d llltt KS At 0 St.

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Ke-pett Criiuct. Jca v. Hire. Edtiie r.ny In A FUNNY THING ting tit-mts as the visit of ex-President Koose elt to Warm Spr.ngs. and the press conference bv incumbent President Henry Wallace.

That is perhaps enough to cue an idea of the ingenuity of the script. One need only add that there are other plot twists equally inventive. See it from the beginning if vou can. hut see it. I don't thiuR filueheard (Jacey in the Strand) would have qualities as a treat even had Us sound track not been incompetently dubbed ami its visuals vilely duped.

Perhaps the dialogue of Franchise S.igan was interesting, hut director Claude Chabrol is no Chaplin and he was unwise to challenge him on his own around. For Bluebeard (original title: I.andru tells more or less the same storv as Monsieur Verdoux." and. except for some pretty art nouvcan sets and costumes, it is incomparably inferior to the Chaplin version (from which it pmthos a lot). Michele Morgan and Danielle Dameux are as charming as eer, but they have to fight English dialogue like Will monsieur accept to ee me and Give me your forehead Some dny someone wii realise that you cant dub good actors with second-rate hacks. iNiii.wir i SHEFFIELD IHH Imnlir.ii1 "ttrrt tf! ZZ'W 4 vki r.nc Kar.

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