text: f. * I ■<*ifc3at?*»- » t ■ - ■ "• - Z .'S&, WSWWSSBWf^i?"# 4 ' '?rtS'#t4» S J - ■ ■' > '■■’--- ’ ./' ‘ • ■MK ■ ■ to. ®IM ? F' ■ '"'i ■ ■ :■. F. <■■ *x. jl;-i':il ; ®K<k^/Bl^i®f01W ; - : '\ * v " ' " ’ , '■/■j" ft,.. Sgfe&i, '' ■' - " ' ■’*“-■ The first major ballet event of the new season will be the appearance here of “Stars of the Bolshoi Ballet,” in two separate programs at Washington Coliseum tomorrow and Tuesday ■ ® § t -- - W \ ’\; ijglk-. ~ ;^'v ‘•‘'• R R® «’■ < ' , ?/ ) .■s'£.'• /- .■ >. ' -^'■ &*' ■* 1 v zjfejWMH \T '' x< -- */^ f - '■ ' '&• : ’ Close on the heels of the Russian visitors will be our own National Ballet, opening its second season this week with Thursday, Friday and Saturday night performances at Lisner Audi- HOLLYWOOD Mrs. Mason Looks East and Ahead By SHEILAH GRAHAM North American Newspaper Alliance HOLLYWOOD. - Mrs. James Mason, who is about to divorce the actor, does not intend to flop around in Hollywood looking for another husband. “There are such a mass of rich widows here now, and one out of two is very, very rich, like Kay Spreckles Gable. Kay has had Efrem Zimbalist to take her around, but the wise ones get out, they go to New York and get married.” “Is that what you intend to do after your divorce?” I said. RUNNING AWAY? Lee Remick decorates the cast of “The Running Man,” set to open on Wednesday at the Lyceum-Lux. Harvey is the man. AMUSEMENTS BALLET: IMPORTED AND DOMESTIC asked Pamela, who bubbles over with high spirits, sharp wit and good health. “Of course I intend to marry again, but not right away. I’ve been married since I was 16 — I had a husband before James and I want to know what it’s like to be free for a bit. I very well might go to live in New York. My children, especially Porty, adore it. I might do my best to show from the Plaza Hotel, you get an automatic, happy audience at tea-time.” Pamela has been a popular radio and TV hostess in Hollywood with her own show for the last few at 8:30 p.m. The girl here demonstrating the high flying for which Russian dancers are noted is Yelena Riabinkina, one of the more than 30 stellar dancers in the company. Torium. The dancers here are Joyce Woolsey, Phyllis Blake, Judith Hellman, Patricia Sorrell and Susan Gore, in a scene from “Swan Lake,” one of the ballets to be presented. Years. Now ABC is syndicating her television show. In my first interview with Pam, during her happy years with James, she discussed Hollywood parties and said what a deadly bore they all were. “I’ve been cut off the lists, A, B and C. I don’t mind. They have always been based on money. And somehow the people who go to them are all so middle-aged.” At last report the Masons were hoping to settle their divorce without a court battle. “But James is so changeable. When I see him he is nice and agreeable. Then his lawyer talks to him and tells him not to talk to me and then we fight again. I should think the main thing should be what is best for the children. It’s up setting to them when they hear us quarreling. I had to get a restraining order to stop him coming to the house because of the effect on the children. He’s a strange man. He didn’t tell me he wanted a divorce. I thought everything was fine, and I heard about the divorce from a reporter. I called James, and he said it wasn’t true. So I gave out a statement that it wasn’t true. Two days before Porty had a slumber party, she asked me about it. I said no. He really should have told me. I believe he will marry Donna Greenberg. I believe she worked in a Tarzan film. There have been some stories that Pamela will marry her manager, Jim Fitzgerald. “Not right now,” said Pamela. Mr. Mason is a Swiss resident, his estranged wife told me. And this was one reason for their separation. She prefers to live in her beautiful Beverly Hills home on Pamella Drive. "I have to live there, it's my own street," but James can get more work in Europe. He has a big role in "The Fall of The Roman Empire," filmed in Madrid, and is now in "The Pumpkin Eater" in London with Anne Bancroft. "He also has a house in Segovia in Spain," I am informed. "For our divorce to stand up in England, there must be adultery and that is why I am naming several of his girl friends in my divorce suit. I shall ask for complete custody of the two children." Portland is 15, Morgan is eight. “You know it doesn’t work for children to see their father for odd hours over a weekend. It’s one thing to be a father, and another to be a bowling alley friend for an hour and a half. I wondered, for Morgan’s sake, if I was doing the right thing. But now I am sure. They have taken it well, as I did when my mother and father divorced when I was 11 years old.” “The Leopard,” best-selling novel by Giuseppe di Lampedusa set in feudal Sicily, has been turned into a handsomely photographed movie, opening on Wednesday at the Dupont THE PASSING SHOW Writer-Director Types Prove Selves Cinema's Free Men By JAY CARMODY Drama Critic of The star A couple of the week’s new movies offer further testimony that it is the writer-director who is the surest-handed operator in the art of the cinema. This is the type, of course, who first sets things down in words and then translates them into images. A very handy form of bi-linguality, or bi-literary, that is, and naturally recommendable to anyone contemplating making a career of producing movies. The writer-director films which opened the throttle on this so-to-speak train of thought are both from Europe. One is “Heavens Above!”, from England; the other “L’Eclisse” or “The Eclipse,” an import from it "Heavens Above!" is the work of the irrespressibly irreverent Boulting twins, John and Roy, and stars their favorite actor, Peter Sellers. "L'Éclisse" is out of the dark brooding imagination of Michelangelo Antoni. Flavors Different The flavors of the two films are entirely different, the English one wildly and mockingly comic; the other as melancholy and moody as its Roman setting is contrastingly sunny. For all this and their other differences, however, they represent an equivalent degree of firm control over their smallest detail. In other words, they are completely free from the many-mindedness which muddles so many movies. And so many plays. “Heavens Above!” is a kind of summitry in the Boultings’ career which was initiated by a Nanny who found that the TODAY'S MOVIE SCHEDULES AMBASSADOR—“Women of the World”; a frank and international view; 1:25, 3:25, 5:30, 7:35 and 9:40 p.m. APEX—“Eclipse”; Italian comedy with Alain Delon; 1:30, 5:05, 7:20 and 9:35 p.m. CALVERT—“The Small World of Sammy Lee”; British suspense drama with Anthony Newley; 2:45, 6, 7:50 and 9:50 p.m. DUPONT—“The Thrill of It All”; Doris Day, James Garner in a romantic comedy; 2:45, 6, 8 and 10 p.m. EMBASSY—“In the French Style”; disillusioned romance in Paris; based on a pair of stories by Irwin Shaw; Jean Seberg; 2:20, 4:10, 6, 7:55 and 9:45 p.m. KEITH’S—“ Johnny Cool; gangster film with Henry Silva. Elizabeth Montgomery and Sammy Davis, jr.; 1, 3:15, 5:30, 7:50 and 10:05 p.m. MacAßTHUß—“Heavens Above!”; Peter Sellers as an English clergymen; 1:05, 3:15, 5:25, 7:35 and 9:45 p.m. METROPOLITAN—“Women of the World”; 1:15, 3:20, 5:30, 7:40 and 9:45 p.m. ONTARIO—“Lawrence of Arabia”; motion picture of true distinction with Peter O’Toole as the legendary hero; 2 and 8:15 p.m. PALACE—“The V.P.s” that Taylor-Burton team and others fog-bound at London airport; 1, 3:10, 5:25, 7:40 and 9:55 p.m. PLAYHOUSE!—“The L-Shaped Room”; sincere, moving film on a sensitive subject; 1, 3:05, 5:10, 7:20 and 9:25 p.m. PLAZA—“Promises, Promises”; Jayne Mansfield; 1, 2:30, 4, 5:30, 7, 8:30 and 10 p.m. TOWN—“Irma La Douce”; inspired by the French musical; 1, 3:40, 6:20 and 9 p.m. TRANS-LUX—“The Condemned of Altona”; involved, talkative version of Sartre’s play has some fine acting by Frederic March, Sophia Loren and Maximilian Schell; 1, 3:05, 5:15, 7:20 and 9:25 p.m. UPTOWN—“How the West Was Won”; a screen epic in Cinerama with an all-star cast; 2 and 8 p.m. WARNER—“Cleopatra”; the screen’s all-time high adventure in hyperbole—big, beautiful, bright; 2, 7:30 p.m. A BEST-SELLER BECOMES A SICILIAN PAGEANT Amusements, E-1-4—Art, Radio, E-5 Hobbies, E-6—Music, E-7 Schools, E-8 easiest way to deal with them was to take them to the movies. They are specialists in irony who gamble that they will not be identified as anti institutionalists regardless of the sacred groves into which they intrude. In their time, the Boultings have looked with sardonic, but good-natured, laughter at such English institutions as labor, management, the law, politics, and the foreign service. In “Heavens Above!”, their subject is religion, tactfully restricted to its burning mispractice by the vulnerable humans who run it professionally. An innocent, self-sufficient actor, a man of the world, is the major and most innocent of this group. His role is that of a simple unpolished, intensely dedicated cleric who is sent by grievous mistake to a rich, stylish, and sophisticated parish. A man like Sellers comes as a shock to a community such as Orbiston Parva, and especially to its ruling Despards who have become rich by making a drug that is said to be a sedative, stimulant, and laxative. They can react only with horror to his primitive Christianity which sounds like Socialism, to his practice of social and racial equality, and, most horrifying of all, his conversion of elderly Lady Despard to a wild program of extravagant charity. She imperils not merely the family fortune but the whole economic structure of prosperous Orbiston Parva. The cleverness of the Boultings is in extracting the hilarity of “Heavens Above!” from its bumbling, confused characters while making the drama. Theater. Its star, as seen by Caricaturist Cristiano, is Burt Lancaster and the hand-holders are Alain Delon and Claudia Cardinale. The background is the lavish Pante-leone Batt, a point that is fundamental Christianity is hardly practical in today’s society. Religion, then, is their subject but not their target and they have found the perfect man for making their point in the droll, diffident, yet determined Actor Sellers. They have even found an ending of “Heavens Above!” that could not be more appropriate; one so good that it would be tactless for those who see the picture to reveal to those who have not. Antonio who started his professional identification with the cinema as a critic, puts an equally personal mark on his quite different, “L’Eclisse.” His specialty is characters who are almost totally bereft and bewildered by life, yet doomed to walk endlessly in hopeless pursuit of the unattainable. The published screenplay of “L’Eclisse,” in a volume which also includes “L’A v e n t u r a” and "La BROADWAY Osborne 'Luther' Year's First Hit By WARD MOREHOUSE North American Newspaper Alliance NEW YORK.—The impassioned leader of the Protestant Reformation is the subject of this season's first hit play, John Osborne’s “Luther,” at the St. James. It is a stirring examination of the man and his tormented search for a personal relationship with God. In vivid biographical scenes we see Martin Luther as Augustinian novice (1506), priest, celebrated theologian preacher-writer, and finally as the rebel he becomes. From a pulpit we hear him thunder his conviction that men are saved by faith “through the grace of Christ.” And we witness his scornful attacks on holy relics and the sale of Papal indulgences. His troubled conscience, his humility and his stubbornness are apparent in his encounter with Cardinal Cajetan, sent from Rome to silence Luther. The play reaches an exciting climax at the Diet of Worms where Luther makes his ringing refusal to recant. Luther Is played with enormous power by Albert Finney, the remarkable young English actor who has been called "The New Laurence Olivier." He seems fully to deserve the compliment. Other fine performances are given by Kenneth J. Warren, John Moffatt, Frank Shelley, and Peter Bull. The split in Christendom started by Luther is still visible today. Was Luther convinced he was right? John Osborne says he was not. “Spoon River” Edgar Lee Masters’ “Spoon River Anthology” sent a shock wave through literary America in 1915. Now after all, Notte,” is a fascinating revelation of his style. What he writes, mostly for himself as director but incidentally for his actors, is a succession of camera directions. The design essential which emerges from these, and gives Antoni films their distinction, is that both the camera and the performers shall be kept constantly in motion. The intention behind this is to create a mood in the spectator as much as to describe the variety of moods which the characters on the screen are feeling. It is not a method calculated to inspire the easy cooperation of the mass at moviegoers. Antoni, however, belongs to that growing group of directors resigned to the truth that they are destined to be controversial by daring to be different. He is sheer style, which he can afford to be by being the independent man who writes, directs, and produces his own movies. ALBERT FINNEY Another Osborne Hit These years it has been brought to Broadway in a commendable production at the Booth. Masters wrote in free verse of people who lie “sleeping on the hill” in Spoon River, exploring their past in realistic fashion. The dead of Spoon River are returned to life by four talented players, Betty Garrett, Joyce Van Patten, Robert Elston, and Charles Alderman, who conceived and directed the production. One by one, sometime in twos and in quartet, they tell us of the people they were and how they were served on earth. They bring it off beautifully. Alderman developed the adaptation in California, where it was presented under the auspices of the Theater Group of the University of California in Los Angeles. From France by way of London comes the Jean An-See FINNEY, Pare E-4. 