Time Listings: Oct. 8, 1965

This week the baseball season ends with that annual national passion—the World Series. NBC will carry the games in color. Otherwise TV settles down, after the flurry of the new season’s shows, into its normal format:

Wednesday, October 6

BOB HOPE PRESENTS THE CHRYSLER THEATER (NBC, 9-10 p.m.).* Peter Lawford, Bethel Leslie and Broderick Crawford in a U.S. Cavalry-Apache shoot-’em-up.

I SPY (NBC, 10-11 p.m.). Robert Culp and Bill Cosby spy; Marcel Hillaire counterspies.

Thursday, October 7

THE ANDY GRIFFITH-DON KNOTTS-JIM NABORS SPECIAL (CBS, 8-9 p.m.). Music and comedy.

BEWITCHED (ABC, 9-9:30 p.m.). Maurice Evans, apparently a bit witched himself, guest-stars as Samantha’s warlock father.

CBS THURSDAY NIGHT MOVIE (CBS, 9-11:15 p.m.). Parrish, a tycoon Tobacco Road set in Connecticut, with Karl Maiden, Claudette Colbert and Troy Donahue.

Friday, October 8

THE MAN FROM U.N.C.L.E. (NBC, 10-11 p.m.). “The Foxes and Hounds Affair,” with visiting villains Vincent Price and Patricia Medina.

Saturday, October 9

ABC’S WIDE WORLD OF SPORTS (ABC, 5-6:30 p.m.). World Roller Skating championships in Madrid and the World Championship Timber Carnival in Albany, Ore.

TRIALS OF O’BRIEN (CBS, 8:30-9:30 p.m.). Lawyer O’Brien’s British bookie is charged with murder.

Sunday, October 10

THE SUNDAY NIGHT MOVIE (ABC, 9-11 p.m.). North to Alaska, adventure during the Gold Rush, with John Wayne, Stewart Granger, Capucine, Ernie Kovacs and Fabian.

Monday, October 11

BEN CASEY (ABC, 10-11 p.m.). Former Rogue Gladys Cooper appears as a feisty general practitioner who quarrels with Casey over how to treat Ann Harding.

Tuesday, October 12

TUESDAY NIGHT AT THE MOVIES (NBC, 9-11 p.m.). Fred Astaire and Audrey Hepburn in Funny Face wherein a glamour photog (Fred) turns a bookish square (Audrey) into a top model; in Paris; with music.

RECORDS

Chamber Music

A SONATA RECITAL (2 LPs; Vanguard). Bela Bartok wrote for the piano as though it were a percussion instrument, but when he played it, he could make it sing in the best romantic tradition. This historic album, made at a Library of Congress recital in 1940, is one of the few recordings that survive to attest to Bartok’s virtuosity as a performer, long eclipsed by his fame as a composer. With Master Violinist Joseph Szigeti, Bartok gives a bold and dramatic rendition of Beethoven’s “Kreutzer” Sonata and plays the Debussy Sonata for Violin and Piano lightly and brightly. The most striking performance, however, is the two Hungarians’ demonic, clangorous attack on Bartok’s own fierce and fantastic Second Sonata.

A PURCELL ANTHOLOGY (Angel). Some youthful discretions by England’s greatest composer, performed in singing style by Violinists Yehudi Menuhin and Alberto Lysy and members of the Bath Festival Orchestra. Mood and key flash from dark to bright in the short, rich trio sonatas and free-form fantasias for string quartets. Although they show a polite acquaintance with Italian baroque, the selections mind their Purcellian manners nevertheless.

BEETHOVEN: THE COMPLETE VIOLIN AND PIANO SONATAS (4 LPs; Columbia). Released separately over the past few years, these performances by Violinist Zino Francescatti and Pianist Robert Casadesus are now complete. The earlier sonatas are especially fine, for the French artists are marvelously attuned to the lyricism, elfin wit, and inventive refinements of the young Beethoven. Other violinists may play the works more romantically (David Oistrakh on Philips) or more brilliantly (Jascha Heifetz on RCA Victor), but their pianists do not always live up to them, and the understanding partnership of the two virtuosos in the new series is rewarding.

CLASSHICAL PERCUSSION (Cambridge). Harold Farberman is one of a group of contemporary composers who, in trying to bridge the gap between classical music and jazz, have jumped with something of a splash into what is called “the third stream.” A former whiz-bang drummer with the Boston Symphony, Farberman concentrates on percussion in his compositions, uses other instruments sparingly. In Evolution, a French horn appears briefly as well as a voice (Phyllis Curtin’s). Progressions’ percussion is punctuated by a flute. Impressions is said to be about painters, including Jackson Pollock, who would probably never recognize himself as portrayed by Ralph Gomberg’s oboe. And vice versa.

MOZART: THE PIANO QUARTETS (Columbia). “Everyone was bored and yawning,” wrote a Viennese society reporter in 1788, describing the winter-long rash of amateur performances of Mozart’s new piano quartets by “this and that princess.” Now the two quartets are listed among Mozart’s finest works and are given pristine performances by Polish Pianist Mieczyslaw Horszowski and the violinist, violist and cellist of the Budapest String Quartet.

HAYDN: QUARTETS, OPUS 54 (Westminster). The London-based Allegri String Quartet definitively explores three of the “Tost” quartets, all of which are characterized by the predominant role of the first violin, here brilliantly played by Eli Goren. In the C Major he tirelessly weaves a long garland of arpeggios and trills, then plunges into an adagio of exceptional beauty, tracing a hopeful obbligato above a deep-voiced Hungarian lament.

HAYDN: DIVERTIMENTI FOR BARYTON, VIOLA AND CELLO (Nonesuch). Because his patron, Prince Nicolaus Esterhazy, liked to play a hollow-necked, stringed instrument called the baryton, Haydn composed at least 125 divertimenti for it, of which five are exhumed by the Salzburger Baryton Trio. To many ears, the recording will be an eloquent argument for keeping the twangy viol locked in museums.

FRANCIS POULENC: SEXTET FOR PIANO AND WINDS (Angel). Prokofiev-like flashes of wit and tipsy abandon brighten the sextet, while the Sonata for Flute and Piano sets afloat a dreamy cantilena, then juggles flashy melodic fragments into thin air, Michel Debost lightly plays the lyrical flute; Jacques Fevrier is the pianist with him and with the Paris Wind Quintet.

CINEMA

KING AND COUNTRY. A private’s progress from firing line to firing squad is the substance of Director Joseph (The Servant) Losey’s painful, stirringly played World War I drama about an inarticulate deserter (Tom Courtenay) and his anguished defender (Dirk Bogarde).

RAPTURE. Patricia Gozzi—three years older than she was in Sundays and Cybele and just as wise—blazes her way through a dark and stormy story about a lonely child (herself), her bitter father (Melvyn Douglas), and a feral servant girl (Gunnel Lindblom), whose lives are all changed by the sudden appearance of a handsome escaped convict (Dean Stockwell).

TO DIE IN MADRID. Newsreels from five nations along with a sensitive commentary spoken by such distinguished nonpartisans as John Gielgud and Irene Worth, powerfully re-create the tragedy of the Spanish people during the wasting civil war of 1936-1939.

HELP! The new ring on Ringo’s finger puts him in double jeopardy from a couple of mad scientists and a band of Oriental cutthroats. The result is a wild spin cycle of sight gags and exotic locations. The Beatles really haven’t much to do except romp along with the frantic action.

DARLING. A disenchanted look at a jet-set success story, in which Julie Christie finds the room at the top is always a bedroom —and often a bore.

THE IPCRESS FILE. A British secret agent, played by Newcomer Michael Caine, is embroiled in Bond-like situations, though he is not at all the type who would be welcomed in Blade’s—even with M. He makes an engaging sleuth nonetheless.

THE KNACK. The off-Broadway comedy hit about a virgin from out of town and three sex-obsessed young men is turned by Director Richard Lester into an energetic field day won by Rita Tushingham.

BOOKS

Best Reading

THE AMERICANS: THE NATIONAL EXPERIENCE, by Daniel J. Boorstin. Historian Boorstin bases his cultural history of the U.S. on what is home-grown American rather than what was modified from European life. The “booster” who followed the pioneer westward and developed the country is his hero; his villain the Southern planter, who borrowed all of English agrarian life and needed slaves to make it work.

AFFAIRS AT STATE, by Henry Serrano Villard. An eminent career diplomat about to retire from the corps as Ambassador to Mauretania writes an acid lament for the lost art of diplomacy. His arguments are bitter: career men are undermined by rich, gauche political appointees; the meddlesome, myopic State Department has almost bankrupted the prestige of the U.S. ambassador.

GOETHE, by Richard Friedenthal. This first biography in more than 20 years looks at the human side of the great German writer. Though sometimes merciless in dissecting Goethe’s follies, Friedenthal succeeds in showing how his strengths and vagaries combined to provide the works of consummate imagination that rank Goethe with Shakespeare and Dante.

ONE OF THE FOUNDERS, by P. H. Newby. This deft, witty novel about a meek man who must learn to hate recalls the searing, epigrammatic satires of Henry Green.

MRS. JACK, by Louise Hall Tharp. Isabella Stewart Gardner was one Boston dowager who sensed the possibilities of an impregnable social position: with Bernard Berenson at her elbow she shopped Europe for a great art collection and used the Back Bay as a theater in which she played roles from Persian princess to Bohemian girl. A very readable biography.

THE EMPEROR OF ICE-CREAM, by Brian Moore. The hero of this bleak, mordantly humorous novel is a dreamy young man in Belfast who shirks worldly responsibilities to listen to the inner music of the Wallace Stevens poems that he knows by heart. But during a World War II raid, the world of here and now becomes acutely clear to him; as he helps in the sickening cleanup, he becomes a man.

NEVER CALL RETREAT, by Bruce Cation. Author Catton manages to milk fresh facts and fresh emotions from the oft-repeated tale of the Civil War’s end. The heart of his book is a thorough analysis of what was at stake, morally and economically, at the close of 1864, and a review of the characters of Lincoln and Lee that reaffirms their place among the U.S.’s toughest and most realistic heroes.

LANGUAGE ON VACATION, by Dmitri A. Borgmann. The author is a word fanatic of the most ingenious order, produces a compendium of useless, teasingly fascinating information about anagrams, anti-grams, palindromes. How many people can look at Satan and see Santa?

Best Sellers

FICTION

1. The Source, Michener (1 last week)

2. Up the Down Staircase, Kaufman (4)

3. Hotel, Hailey (3)

4. The Man with the Golden Gun, Fleming (2)

5. The Green Berets, Moore (5)

6. The Looking Glass War, le Carré (6)

7. Airs Above the Ground, Stewart

8. The Rabbi, Gordon

9. Don’t Stop the Carnival, Wouk (7)

10. The Ambassador, West (8)

NONFICTION

1. The Making of the President, 1964, White (2)

2. Intern, Doctor X (1)

3. Is Paris Burning? Collins and Lapierre (3)

4. A Gift of Prophecy, Montgomery (5)

5. My Twelve Years with John F. Kennedy, Lincoln (10)

6. Games People Play, Berne (4)

7. Manchild in the Promised Land, Brown (6)

8. Never Call Retreat, Catton (8)

9. Markings, Hammarskjold (7)

10. Report to Greco, Kazantzakis (9)

* All times E.D.T.