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‘Mutiny on

| TREVOR HOWARD AND MARLON BRANDO

On V.I.

an people of Vancouver
have read and_ heard

Much of the problems beset-
ting the Vancouver Interna-
10nal Festival — problems
Which have come close to
destroying the future of the

€stival and
ce,

its very exist-

The  festi-
val board re-
cently an-
nounced that
it had set up
a board of
inquiry (or
poor man’s
Royal Commission) in the
rm of a committee of four
People, headed by Brenton
~ Brown, to receive the op-
Mons and suggestions of in-
hte organizations and

‘dividuals in order to try
® improve the outlook for
the festival.

Fere Vancouver City Cul-
ate Committee of the C.P.C.
. mitted a brief to this
SMmittee, expressing the
'€Ws of the party on what
‘ould be done in order to
sure the expansion of the
{estival,

* * *

Th its brief, the cultural
thamittee pointed out one of
© principal reasons for lack
Support at the festival box

ice Was to be found in the

Of

Bounty’ is haunted

Wrere: with a long shot |
of a galleon in full

sail, or with a close-up of a
cute Tahitian popsie wiggling
her wotsit, Mutiny on the

Bounty is always good to
look at.
But this M.G.M.. 70mm.

Ultra Panavision remake of
the old prewar favorite takes
far tco long to make up its
mind what sort of film it
wants to be.

* * *

Magnificent are the salty:
blues and browns of the sea
scenes; the affectionately
filmed shots of the rigging;
the breathtaking vistas of the
storm-tossed- ocean with the
gallant vessel battling along
against wind and weather.

Flamboyant are the pur-
ples and yellows of the mus-
ical-comedy scenes on Tahiti,
where chorus girls (led hy a
luscious 19-year-old named
Tarita do the Polynesian
twist, accompanied by the
harmonies of the local glee
club.

Red flows the blood from
the back of the flogged sea-
man (Richard Harris) as we,
like the crew, are forced to

F. problems...

fact that many of the festival
attractions had been priced
beyond the reach of vast cir-
cles of the people. This was
tied in with the more-or-less-
established practice of fea-
turing high priced American
talent in many festival pro-
ductions.

As a corollary of this situ-
ation, the brief drew atten-
tion to the plight of Can-
adian artists, most of whom
have to win recognition
abroad before being granted
the same type of recognition
at home and put forward the
logical conclusion that featur-
ing more “Canadian artists
would naturally add to their
prestige and help the festival
financially.

The submission also called
for more participation from
countries of Africa, Asia, Lat-
in America and the socialist
states — a policy which
woulda make “an extremely
useful contribution . . . to the
cause of world peace and in-
ternational understanding
and the elimination of racial
bigotry.” Using the past suc-
cesses of such groups as the
Soviet ‘Army Chorus and
Peking Opera it proved this

policy would, without a
doubt, enjoy financial suc-
cess as well.

* * *
“Tt has tbeen estimated in

WORTH READING

Letters to Americans,
1848-1895, by Karl Marx
and Frederick Engels.

For almost 50 years
Marx and Engels carried
on correspondence with
friends, co-workers and
public figures in the
U.S. Their correspond-
ents played a major role

in the American social-

ist and labor move-
ments.

These letters are of
value in tracing the
early growth of the
Communist movement

- in the U.S

some quarters,” the brief
continued, ‘“‘that for the Fest-
tival to accept municipal,
provincial or other subsidies,
is somewhat of a sinful act.

“Culture, by its very na-
ture, cannot possibly be con-
sidered as ‘a money maker’,
and most enlightened coun-
tries in the world recognize
this fact of life. Even coun-
tries with a very rich cul-
tural tradition find’ it neces-
sary to subsidize their oper-
atic companies, sypmhony or-
chestra, corps des ballets, et
al, and this practice has been
followed for an extended per-
iod of time in Italy, France,
Austria, Czechoslovakia and
the Soviet Union — to name
just a few.

“We submit that if we con-
tinue casting the festival in
the role of a tourist attrac-
tion, we will continue to be

plagued by fiscal problems.”
* *

ART

However, because of an-
nounced grants by civic and
provincial spokesmen (grants
which would come indirex-
ly from the -taxpayers’ poc-
kets) a much wider represen-
tation must be established on
the festival board. In this
connection, the brief sug-
gested representatives from
municipal councils, the trade
union movement, PTA’s, rate-
payer groups, the Vancouver
Folk Society, the ethnic or-
‘ganizations to be found in
Vancouver, and so on.

In summing up, the brief
urged the implementation of
these five points:

e Presenting attractions at
popular prices;

e A much fuller use of
Canadian talent;

e Greater representation
from sections of the world
other than the North Ameri-
can continent;

e Subsidization of the fes-
tival, in line with common
practice elsewhere;

e Fuller community par-

ticipation and representation,

witness punishment. One .. .
two .. .three . . . practicality
every one of the twenty-four
lashes shown in detail .

close-ups of wounds . . . blood
everywhere.
* * Bo

There is nothing in the first
half of the film to pull this
confusion of styles and in-
tentions together; nothing in
Lewis Milestone’s direction to

give it any sense of unity or-

purpose.

And a spectre is haunting
its decks — the spectre of the
long - remembered perform-
ance by Charles Laughton
(now lying in a sickbed) who
was allowed, as Trevor How-
ard should have been but nev-
er is, to make his Captain
Bligh dominate the scene.

Yet by the end the film
succeeds in asserting a char-
acter of its own. It is not just
that the script pulls itself to-
gether, remembering, almost
too late, that men are men
even if they are Lower Deck,
and that cruelty and ruthless-
ness spring directly from the
ambitions of the empire
builders.

—NINA HIBBIN

TARITA

New book on ‘fallup’

fearsome new radiation

hazard is increasingly
forcing its attention on man-
kind. Its cumulative danger-
ous efiiects and measures for
control and contamination are
outlined in a new pamphlet
—"Fallup — Mankind’s New
Atomic Danger,” by Mark
Frank and published by Pro-
gress Books of Toronto. Price
of the booklet is 35c.

The word ‘‘fallout’”, after-
math of nuclear weapons-test-
ing, is well-known and has
led to demands for a. world

ban on continued. besting:
* *

Not so well- SS ee| or
publicized is a parallel phen-
omenon which has been de-
scribed as “fallup’’« It is the
dangerous cumulative radio-
activity working its way out
of the rotting garbage dumps
either in ocean depths or bur-
ied underground.

In 1960-61 sharp questions
were asked in the House of
Commons (Ottawa) about ra-
dioactive pollution of our At-
lantic waters, where the U.S.
has sited some 28 radioactive
waste dumps. One of them is
130 miles southwest of Yar-
mouth, Nova Scotia, and has
been condemned by the East
Coast citizens as a danger to
the scallop fisheries.

* xe *&
The author of “Fallup —

Mankind’s New Atdmic Dan

tet etetatetetetetetetetetetetete’, ‘

ger’ urges active implemen-
tation of the disposal method
worked out by Chalk River
researchers and world agree-
ment on a ban of dumping in
the ocean depths instead of
present - day indiscriminate
and uncontrolled releasing of
such wastes.

GALINA ULANOVA, re-
garded as the world’s fore-
most ballerina, spoke at a
Mass Rally for Peace and

Friendship on Monday,
Nov. 26. The rally, held,
in New York’s Carnegie
Hall, was sponsored by the
National Council of Amer-
ican-Soviet Friendship.

A SONNET

We watched with wonder how the lowly serf
Could break the chains of misery and grief.
Seeing new man appear in all his worth :
Gave strength and purpose to our frail belief.

Forty-five years in which to create,

To build, to sculot the new from older forms.
Resisting, with the love of peace, all hate

And all the greed which former strength deforms.

‘Tis but a moment in the life of man, -

Where centuries in lazy pattern lie.

The timeless instant when you bridged the span
And so became the masters of the sky.

Now working man, with Soviet Astronaut,
Will forge the peace the centuries have sought.

© MARGARET H. APPS :

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