’ He is unreal.

4

NEW BRITISH SONG

And the chorus goes:

‘Leave me, Yankee man...’

ONE SONG. that is rapidly catching on with the British
people, although it is to be found in no hit parade, is patterned
after the West Indian Calypso songs.

Here are two of the verses:

Don‘t like to be seen talking with you,

Don‘t like to be seen walking with you

Don't like to be seen brawling with you,
In case my character's gone. :

Coca-Cola won’t buy me,

Nylon stocking won’t buy mé@,

Chewing gum, it won't buy me,
1 don’t like a hooligan.

Leave me, Yankee man, leave me,
Leave me, soldier man, leave me,
Leave me, Gli man, leave me, _
Oh, Lord, I'll be glad when you’re gone:

CURRENT FILMS

Here's good picture of —
how others spend lives

YOU HAVE often imagined
what others do with their lives.
My favorite place for doing this
is a bus. I wonder what a total
stranger did that morning or a
week before.

The Story of Three Loves does
what we can’t do. It takes us,
in Technicolor, into the past of
such unknown people, gives a
part of their lives,/introduces us
to their relatives, friends, loves.
Then it sends us on our way
again.

A bus, it seems, would be too
mundane. We have to be on an
Atlantic liner. But the idea re-
mains good, even though it moves
in the wash of Encore, Trio and
others in presenting three stories
in one.

Here we have an original twist.
A return to the liner after each
episode provides better continuity
than I have seen before in such
films.

And producer Sidney Franklin
gives something for everybody.
Perhaps you prefer ballet or the
tension of the trapeze, or again
a little humorous magic with a
little sadness. It has something
of all three.

The strangers in this film lead
exciting lives. Our first traveller
turns out to be a talented im-
presario, as arrogant as we ex-
pect of any part by James Mason.

He has fallen in love with a
dancer. He has the erratic tem-
perament we are supposed to ac-
cept in a man of his profession.
As unreal as his

home, which is a cross between
a palace and a museum.

Nor is Mason convincing in the
part. His acting is artificial. In-
deed, it is possible that the part
itself has been madé all the more
unconvincing by that.

The insincerity and the lavish-
ness of.the sets do not destroy
the joy of Moira Shearér’s danc-
ing. I was moved by the spec-
tacle of a ballerina whose doctor
tells her she must never dance
again. The combination of dance
and dramatic effect induces a
subtle mixture of emotion and
distress.

Ethel Barrymore plays Mrs.
Pennicot in the second story. She
is a woman with more than
earthly powers.

There is a lot of fun when she
turns a boy into a man for a few
hours and he falls in love with
his governess. Luckily he returns
to boyhood.

Few of us remain unmoved by
the trapeze, especially when we
are taken aloft and can look
down. In the final story we see
a trapeze artist trained from
scratch. We feel a growing ten-
sion as the stunts‘ become more
varied and dangerous.

Kirk Douglas and Pier Angeli
are partners in a-job that depends
on nerve, timing and acrobatic
skill. But, unlike the people in
the other episodes, off stage they
are ordinary flesh and- blood.
This story ends with a brilliant
sustained climax.—ROY SEARS.

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MEN'S WEAR

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FRIENDLY
SERVICE

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~of the book.

GUIDE TO GOOD READING

False concept distorts story
Israel

of Jewish refugee in

ONE OF THE better pocket
books is The Juggler by Michael
Blankfort (ell). This is the
story of Hans, a German Jew
who emigrated to Israel after
spending ten years in German
concentration camps. A juggler
and clown by profession, he is
mentally sick, suffering from a
persecution complex and claus-
trophobia.

Hans, whose wife and two chil-
dren were murdered by the Nazis,
is presented as a symbol of the
Jews who survived fascism in
Europe. He had to go to Israel

_ in order to root himself into civil-

ization again.

This is thé underlying theme
Israel is home for
the Jews. Every Jew outside’ of
Israel is in exile and must be-
come a scapegoat. In other words,
the Jews in the Soviet Union and
the People’s Democracies must
inevitably be persecuted as they
were in Nazi Germany. Further,
there is no escape from anti-
Semitism and reaction in Amer-
ica for Jews, unless they renounce
the struggle in America and emi-
grate to Israel.

Here, we see the bourgeois-
national outlook of Zionism. The
idea is that Jews who are a min-
ority anywhere outside Israel
must inevitably suffer anti-Semit-
ism. And-the effect of that idea
is to separate Jews from non-
Jews, to distract from the fight
against the ruling circles of mon-
opoly capital which foster anti-
Semitism in order to divert the
people from their basic problems,
irrespective of nationality or reli-

. gion.

* * *

HANS IS unable to read or
write Yiddish or Hebrew . and
does not feel at home in Israel.
Every time he meets an official,
a policeman or a soldier, he
quakes with fear. To him, such
a person is a Nazi, waiting to
thrust him into another concen-
tration camp. This is the blight
of fascism.

Stopped by a uniformed police-
man who is looking for some-
one else, Hans beats the officer
into unconsciousness and flees,
hoping to cross the border into
Syria. On the way, he meets a
12-year old orphan and they jour-
ney together, ending up on a
battle-scarred cooperative farm.

At the cooperative farm, Hans
at first resists the attempts of.the
farmers to draw him into their
life. Then, as he becomes attach-
ed to the young widow of an
Eighth Army officer, he begins to
feel a strong attraction to these
people.

Finally, the law, in the person
of a religious detective who was
trained under the British man-
date, catches up with him. Hans
is holed up in his room, desper-
ate and armed with a rifle. The
detective is outside, armed with
a pistol.

Before there is any shooting,
Hans surrenders. The surrender
becomes a symbolic act. From
the premier down to the last
policeman, every Jew in Israel
has but one aim: to carry out

the dictates of Jehovah. The de-.

tective was chasing Hans because
the crime of beating a policeman
was a crime against the authority
of a state moulded by the prin-
ciples of Jehovah. Hans sur-
rendered because the Merciful
One had given him back to his
people. This is a religious ver-
sion of the concept that the state
is an organ above all classes, not
an instrument of class domina-
tion.
* * ee.

DESPITE ITS weaknesses, The

Juggler gives a good picture of

ote \

~_
—|

the sorrowful plight of those
European Jews who managed to
escape death at the hands of
fascism and then journeyed to
Israel to start life anew.

It is ironical that the author,
speaking through Hans, gave us
the clue to an understanding of
the basic problem of Israel, al-
though this was not_his inten-
tion.

“They’re going to make white
bread of us and export us for
American dollars. And what'll
they make with American dol-
lars? White bread!” This is what
Hans said to a companion when
he arrived in Israel, but the
author presents this statement as
coming from a twisted mind.

However, the people of Israel
are becoming more and more con-
cerned with the domination of
their country by U.S. imperial-
ism, aided and abetted by Zion-
ism and right-wing Social Democ-

BLACK AND WHITE THIS FALL

_murderers of the

racy. Inevitably, they are search
ing for democratic, peaceful ae
ternatives.

Of a total population of 1,601,
000 in Israel, 402,000 signed th
peace petition opposing the
armament of Germany and © it
ing for a five-power peace ate
that would keep the Midd a
East, Europe and the world oul
ofa war. Here we see the ;
voice of the Israeli people ass® a
ing itself, despite the disrupl
role of Zionism and right t
Social Democracy. There #8 a
an echo of this voice 1 =
Juggler.

Jews in Israel, and in pee
other country, are alarmed at
attempts of U.S. imperialis®
use the Hitler generals, the ™
Jews, to
create a militaristic Ger™ ae

The enemy is not the vest
Jews. That is a false cont
which flows from Zionism. i
enemy is the ruling clique af
monopoly capital—and U.S: ii:
opoly capital in particular iy
which uses anti-Semitism 4
of its weapons to direct false
anger of the people into %
channels.—JACK PHILLIPS.

\

But how soon will color |
television be practical?

-EVER SINCE a form of color
television was demonstrated on
a closed circuit at a radio ex-
hibition in London a few years
ago people have been wondering
when they are going to have it
in their homes—even in Vancou-
ver, which will get its first black
and white TV over a Canadian
station this fall, speculation about
the introduction of color TV is
a factor in sales of television
sets.

Some of the best radio engin-
eers in the world are working
on color television. But the
scientists who are actually doing
research on it have not said very

‘much yet.

Let us say at once that the
idea that you can simply convert
an existing black-and-white re-
ceiver to color by an attachment
is absurd. Just consider the com-
plications.

A radio wave must carry much
more information for colored
television pictures than for black
and white. This will almost cer-
tainly mean the use of higher
broadcasting frequencies.

This in itself is a major en-
gineering feat. And at the re-
ceiving end, too, the set must
become more complicated.

Oo Eo *

A TELEVISION receiver may
be considered in three parts.
First there is the actual receiver
which takes the waves from the
aerial. This also converts the
waves into electrical signals.

The signals are passed on to
the second part, the “time bases.”
These cause the spot of light to
move across the face of the third
part—the picture tube.

On the picture tube you see
the image of the scene which is
being sent out by the transmitter.

Engineers working on color
television are trying to make as
few changes as they can in the
receiving part of the set. Prob-
ably the basis of it will remain
as it is.

It is the second and third parts
of the television trinity that will

~ picture is seen.

PACIFIC TRIBUNE — SEPTEMBER 25, 1953

have to have really sweet
changes. Different designe igs
putting forward various m¢ epi
One system uses three ° 1
ate picture tubes—one Ue ute
red and one green. The Pl sie
which the viewer sees ve po
up by throwing the picture on 4
all three tubes on to a sct®
the same time.. ee
Because of the mixin’ rf
three colors this forms
shades and hues which
colors. ‘ nf
A second system is pased ye
revolving disc which 45 p’ Ka
tween an _ ordinary bla re
white picture tube and aed jpt?
ceiver. This disc is di¥
colored. parts.
Again the same three e
are used, that is blue, f
green, The result is th@ ges j
blue, then a red, thet ae

oth?
If these follow only you!
quickly enough you
colored pictures. ‘
a * * :
YOU CAN see from se
both the systems mea? |
deal of change in the
the set known as the
systems” that deal wi ion
tual picture. But th al
bases” also have to De a
for these reasons. ¢
ct

i

The camera at the
“sees” a colored P! oA get?
passes on the blue, red antes
parts of the scene ona “is
other. At the receiver 4 extt,
must be reproduce

ery |

the same order at exe
tran” yst®

Bs

same rate as they are

In a_ black-and-W
you get fuzziness !
error in timing %
millionth of a second: ©
division demands. murat ©
accuracy than this. sine
you some idea of the °”
problem.

The engineers and é
on working and &!

no doubt that a stant
will be agreed upon
year.—K. G. KING. ©