The Los Angeles Times from Los Angeles, California • 68

IcS flngtlf 3 Omf 9 4 Guest Rates High Leading Westside i Magicians to Appear The international set of jet-age magicians will take over the stage of the Wilshire Ebell Theater on Wednesday night in the 12th edition of 'It's Jetting in from London will be a young British' magician, Johnny Hart-J Comedy is to be featured by Milo and Roger, who appeared in Las Vegas in the Mitzi Gaynor Show. Other illusionists include the Chaudets, Mau- rice Rooklyn of Australia, Bob Karl, Ali Bongo, and Peter Pit of Holland. Spencer Quinn and orchestra will provide music -for the show. BY. WALTER ARLEN iaO fa--- HURRY! LAST 2 DAYS off with every nicety it3 expansive score required.

The opening had Slavic bounce and vitality; the famous Largo floated expressively; the Scherzo was sprightly and strongly rhythmical; the finale brilliant Quite a feat with so young an orchestra. Even more impressive because it was a last-minute substitution was another, equally hackneyed 19th century piece: Rossini's "William Tell" Overture, played in place of Henri Lazarofs Piano Concerto. Its American premiere, with Georgia Akst as soloist, had to be postponed because the composer was said to have withdrawn the score for revisions. The delightful verve and clarity Popov was able to draw from the West-side Orchestra in the Ros FcrthtFuSrrar.stJC S.w.I....i.' liC3 3:33 nxttr imun nweomon aa EDWARD ALB EES 13:43 PM ft. no Oft undc ta mi MAOaMTTfOUMlIat ACCOMMMalO ST MS MMW GEORGE SEGAL SANDY DENNIS INIS ptcmcs Ntximooa IKNEST LEHMAN MIKE MCHCH.S 9mM Sit fei axhaia tmr ana am Wddar ritsamanWARNM BKOS.

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3'S Big Action HitinTechnicoIor Hurry'. Ends PACIFIC'S SUNSCT Mar VINE MOUrwOOD NO I Ixt Dim lac StmVtOA LXEWOO0 LOW BUCK SOUTH BATE MMEt UNCOUI Eiupl WlMat: STADIUM KM BDOADWff IESEM COEKEU Hurry: Cinarama'i Big Action Epic Ends SimI Charlton Hestan liurenct Oliyitr "THE BATTLE FOR KHARTOUM" in Cinerama PACIFIC'S DOME Sunset near Via HO f-3401 Twlitit 1:30 PACIFIC'S Eliiatatti Taylor Blehir Buriao Seort Saal Sandy OoMlt PANTAGES WHO'S AFRAID OF VIRGINIA WOOLF? HallywoMl tt Vina Fatturf At: 1:00 3:30 1:00 1:30 a 10:45 PM HO 0-7181 (Ha Ona Undar IB Admitted Wlttiaut Pirtnt) pinwnnn ucu nu TwtBiuatu Plea or. Wiitwaod GOLDFINGER Color 475-M49 a in.ua a 0an 1:30 PM DR. NO COlOT Woman' Tall on Sex, Little Art BY KEVIN Tmm Staff Writer In regard to the showing of the controversial "Night Games" at the San Francisco Film Festival, that city's Swedish consul reportedly was concerned that "Americans think Sweden is a country where everyone runs around in the nude, jumping into strange beds." Now comes along A Woman," which recalls his Tie mark vividly, for it sorves only to confirm this conception of his country, to put it mildly. Long on sex and short on art, this movie (at the Cinema) is even more explicit than "Dear John." Based on a runaway Swedish best-seller (no wonder), it is simply the story of a young nurse (Essy Persson) who turns her back on her Puritanical upbringing with a vengeance.

The picture consists entirely of her encounters with a series of men, all of whom turn out to be hypocritical squares, until the last. Kind of Picture Now, A Woman" i3 not merely the kind of picture that has given foreign films a bad name with those with conservative views but is also the kind that puts the critic who hopes to be open-minded in a tough spot. This is because this film is no work of art, and these days th.e invocation of art is one defense of sex on the screen that people will listen to. Consequently, the question this inferior effort raises is larger than its own achievement, or lack of it. (The film is a kind of Saganesque variation on the old "Lady Chatterly's Lover" theme: women's sexual drives are as strong as men's, and a hypocritical society cripples both.) The question seems to be, if artistic achievement justifies explicit treatment of sex, what does artistic failure do? Beyond that, what society is ultimately going to have to ask itself is whether and in what circumstances a sensually-arousing film or novel is harmful.

Self-Parody It can be said of the movie at hand that director Mac Ahlberg has put on the screen as much titilla-tion as the traffic will bear so much, in fact, that the picture frequently lapses into unintentional self- parody but. the effect seems harmless enough, much like Hedy Lamarr's "Ecstasy." Like many European pictures with an erotic tone, A Woman" is almost completely free of violence, which many observers feel has long substituted for sex in American movies. In short, it's a picture that should amuse sophisticates, attract the nudie trade and outrage everybody else. OPEN All NIGHT TKE BClCrST Y0UEYERT00K mm Strictly for ADULTS r' Darin? Films 7 for Powerful DULTS OPEH ALL NICHT SUNStT 7 BIKS. EWtRMONI 666 9070 SMOKING DPFM FVPRV ILOGES MORN.

9:45 I first time in lai hi jihv mm wmmwmmwi Li: i 1 v. 1 3s 1 fUwowui m. Ji I il 1 i I I wl 1 Popov conducting of such tj-pi-'cally 18th pentury music as the Divertimento in Major for strings, K. 136, by Mozart The delicate, graceful work of the young genius needed more refinement, more polish, less body, less drive. PM lggj OrJLV! THURSDAY EVENINGS at 1:30 P.M.

OPERA GLORIOUSLY TOLD IN ENGLISH TECHNICOLOR mm houykooo Tmf )-S l. v( Jin $1 I iL 7 'a -i 2) ft tit let! SHOW J.jll.igtB I TfefH WK.8 Urn 1 UkTWANE Kaeetaof jars-i mm fi iyfi In the absence of its music director, Kenneth Klein, the Westside Symphony Orchestra of the National Assn. for American Composers and Conductors will be led by various guests. First in line was Sasha Popov, Bulgarian conductor, who made his American debut at the opening of the group's fourth season in Wilshire Ebell Theater Saturday night. Popov, who has been in the United States for about five years, was an interesting discovery.

His beat is perfectly clear, relaxed, precise but not pe-d a i c. No motion is wasted, and his left hand needn't know what his right is doing. In short, a real pro of vast experience, for whom conducting is second nature, with technique a part of his makeup. In point of interpretation and style, Popov appeared to be an exponent of the 19th century. Dvorak's "New World" Symphony, for example, came 'Summer' to Open Friday "Never On Sunday" star Me Una Mercouri and director Jules Dassin are reunited in "10:30 P.M.

Summer," opening Friday at the Fine Arts Theater. Romy Schneider, Peter Finch and Julian Mateos also star in the picture, which Dassin calls "a modern love story, a kind of experiment." Adapted from Marguerite Duras' moody, atmospheric novel, the picture was filmed in Spain. Two Film Roles Harold Gould, co-starred in "The Zulu and the Zayda" at the Warner Playhouse, has two films in current release, "Harper" and "An American Dream." TODAY'S CALENDAR STAGE "GENERATION," Huntington Hartford Theater, 8:30. MUSIC ITZHAK PERUVIAN, violin; David Garvey, piano. (Beverly Hills Music Assn.) Beverly Hills High School, 8:30.

Music of Brahms, Beethoven, Stravinsky, others. MONDAY EVENING CONCERTS, William Kraft, composer-conductor. Los Angeles County Museum of Art, 8:30. Music of Kraft, Kreneck, Boone and others. fcT 773 0L4-S744-MAISCONT HON rwFWI IFM.

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mm. I MOOR. hfti ii iW I hei PARKIN! i i DEREK MARLOWE outhor of English spy novel. CHARLES CHAMPLIN Who Follows the Trickiest Spy? In the Country of the Blind, the One-Eyed Man is probably in a circus. The surest way to be out of fashion tomorrow is.to be in the forefront of it today.

The espionage novel goes on and on, looking to be as Inexhaustible a font for writers as the western. As a matter of fact, things have been moving so fast on the spy front that James Bond, who was born full-grown but only 13 years ago, already seems as antique and classic as Sherlock Holmes. And, relatively speaking, as simple-minded and direct as Mike Hammer. Along with the spoofers, senders-up and horseback riders, of the Bond Phenom, some impressive literary craftsmen have got involved. They've made the medium something more than sheer entertainment, sheer escapist fare or sheer whatever.

They have injected a high quotient of what you have to believe are the realities of the spy trade, a dirty, depressing, workaday and ironic business. Len Deighton's Harry Palmer in "The Ipcress File" is sort of a transition figure. John LeCarre's characters in "Spy Who Came in from the Cold" and subsequent books are a cold world away from Bond, made of soiled flesh instead of the cardboard which lam Fleming always insisted his was. Mora recently, Anthony Burgess in "Tremor of Intent" has produced a crackling espionage tale which also has overtones as a parable on man's condition. And most recently, a young (27) Londoner named Derek Marlowe has written "A Dandy in Aspic," a totally stylish espionage novel which has the literary polish and economy of a high-style drawing room comedy.

The quotations at the top are from the lips of Marlowe's central figure, a Russian-born English agent who is assigned to kill a Russian assassin who is in fact himself. (The story was serialized in the Saturday Post as "The This plot convolution (which is even more convoluted than that) suggests that the spy vein hasn't run dry, has hardly begun to flow, and that we may yet get the counter-counter-counter spy spying on the mere counter-counter spy. We'll all look back on the straightforward double-cross as a nostalgic child's game. Anthony Mann is going to produce and direct "A Dandy in Aspic" for Columbia early in the new year. (Laurence Harvey and Tom Courtenay have been mentioned as likely cast members.) In this connection, author Marlowe visited Los Angeles a few days ago, sampling the thin-sliced life at The Daisy and other establishments.

He was still shaken by his discovery, in New York, that people voluntarily rise before dawn each day in order to be bright and conversational on television. Knit Shirt, Thin Corduroys Marlowe is Mod (in this case, for Modified) Carnaby Street, with semi-Beatle haircut above turtleneck knit shirt and wide-wale but thin, thin corduroys. He is the literary counterpart thus far of the actors and actresses who have suddenly emerged from the yeasty, kooky but aspiring, coffeehouse-centered world of present London. Not that long ago Marlow was living in pinched circumstances in the Notting Hill Gate section. "Four of my friends from thdse days," he says, "all as broke as me, have become internationally famous." There was and is, he says, a climate of confidence and expectation which makes the scene swing even if momentarily there isn't a shilling for the gas meter.

Marlowe himself began at the U. of London, majoring In English, but found he couldn't get that enthused about the Great Vowel Shift of 1506. He wrote a play, "Scarecrow," produced at the Royal Court and honored as the best first play of its season. His total income from he play was $14. He wrote nine others, all, he notes, submitted in haste and returned at leisure." To sustain Limself, he clerked in the duty-free liquor counter in London Airport.

A Ford Foundation writing grant took him to Berlin, where he got the notion of turning one of the plays into the "Dandy" novel. He wrote it twice and has now done the screenplay. His aim, he says, was not to follow a trend but to write something special within it. He swears he won't tap the spy vein again. Next time, a more heavily autobiographical novel about London now, which he finds has the vitality the Paris Left Bank and Greenwich Village once had.

If so he leaves one spy thing wiih the wit of Deighton, the reality and irony of LeCarre and enough action to tChM CHILDREN WDFo 71 STARTS 6 30pw iX I A NORMAN PANAMA PRODUCTION a CARROLL O'CONNOR, george.tyne EDDIE RYDER Screengtay by NORMAN PANAMA, LARRY GELBART and PETER BARNES. HOLLYWOOD PIX tm" Bond's Blnett! Hlywd. nr. Vina 80LDFINGEB Color HO 4-6113 OR. NO Color Opan 12:1 Frai Pk.

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