=. Re Moonen) Mee eters aN NEMS | tog 'D) ' Sho Pear | Pe UR DD SR Dh cm Rt a tn Bl _PAINTING FOR PEACE Om the cel] in which he has been he Id in Lecumberri ‘Son, Mexico City, for the last 18 months, the great Dict e : ie Painter David Siqueiros has sent this poignant Te on the theme of peace. FOLK SONG GROUP COMING TO CITY Or of North America’s The w. 0Ved singing groups,’ e ee avers, will be in Van- : aaa Shortly. They will hold. i a on Saturday, April, ae Queen Elizabeth forts slstently resisting ef- eCarth e smeared with a Gilbey vite brush, Ronnie . 8 Fed: Hellerman, Lee d Erik Darling (who ae Seeger) recent- Own an invitation aH on the Jack Paar , en asked to take a Oath by NBC. = the oath is a usual © asked of all aritists: Retwore oe on the major c nd their grounds aking The Weavers... WORTH Se gy Nam, by Anna ed $1.65. In her rove 0k, Miss Strong i One = American policy Me ea and is firm- Pminoys 5,000 troops an 9rlg ee of possible Gopi of how i S the inside storv 5 OVerth. ‘S. engineered memiers Tow of neutralist Sted Gi a times and pro- War. Vai erat ole at People’s Co- Rder BE oOkstore, 307 W. t ‘ -the professional in South Viet- for refusing to comply with this witch-hunting tactic was that no private concern or iL- dividual should have the right to question the. loyalty of a fellow-American. In doing this, the Weavers, who are old acquaintances of blacklist, showed once again that the lure of the almighty dollar has not dimmed their belief in their principles. April 21 promises to be a highly entertaining evening. Tickets are on sale at the Co-op Book Store, and are reportedly moving briskly, so readers are advised to get them early. — ‘View From Bridge’ makes workman hero here is a strange notion 3 Beane in some liberal journals (not to mention Time magazine) that the film, “A View From the Bridge’, is a failure because a longshore- man simply does not make an effective tragic hero in the tradition of Greek theatre which inspired Arthur Mil- ler’s play. We suggest that the film thoroughly fulfills - Miller’s hope of presenting an ordin- ary working man as a hero of tragic stature and, more, that the full potential of the play can be realized better on the screen than the stage. There are, for this review- er, some disappointments in - both direction and screenplay but more importantly — here is a real world and a real tragedy. The criticism — to dispose of it at once—is that scen- arist Rosten transplanted al- most the whole of Miller’s text. Since the camera is used with magnificent accuracy to enlarge the dimensions of the play it would seem possible to have cut some of the dia- logue (necessary for the thea- tre, not for the screen) and utilized the camera even more. Rosten juggles one or two scenes with great skill—using visual images—he might have eliminated a couple of scenes and depended even more than he does on some sort of photographic shorthand. The film drags and, occasionally, director Lumet becomes infat- uated with the long slow view of everything, including the bridge—this drags, too. Though there may be argu- ments about the virtue of this creeping reality, there can be no question of the extraordin- ary scenes of the docks, the streets, the longshoremen. These are men working, ma- chines, ships, a whole com- munity, not a background, but a part of the story of the hero—Eddie Carbone. Eddie, a Sicilian immi- grant, is shown (more expli- The movie “A View From the Bridge”, based on the book of the same name, by ‘Arthur Miller, was recently shown -in -Vancouver. _This review by Nancy Scott ap- peared in the last issue of “Peoples World”. citly than in the play) as a militant union man, a well liked, dependable man. Raf Vallone’s performance bears out Miller’s conception — he is strong, almost larger than life, his disintegration is both pathetic and powerful. He is a man—not the clinical speci- men Hollywood has been so fond of presenting. Eddie has a wife, Beatrice (Maureen Stapleton) and a beautiful 17 year old niece named Cath- erine (Carol Lawrence). The tragedy begins when two of Beatrice’s cousins arrive fresh from Sicily. They are “submarines” — illegal im- migrants. The younger cousin Rodol- pho (Jean Sorel) falls in love with Catherine and she with him. Eddie, without in the least realizing it, desires Catherine himself and is fiercely jealous of Rodolpho. He tries every means he can think of to keep the two apart — he accuses Rodolpho of homosexuality, he goes to a lawyer (Morris Carnovsky)— nothing. (Sorel is very cre- dible in this difficult part. He must, presumably, seem both gentle and virile and is very much more of an actor than he seemed in “From A Roman Balcony’. The law- ‘yer’s role, a species of Greek chorus, is not given the scope it has in the play and Car- novsky’s talents are wasted.) . Eddie begins to disinte- grate, fighting his destiny, from a man of strength and pride, who would never think of betraying his class or com- munity, into a state of deep distress and confusion lead- ing him finally to inform on the immigrants — the only way he can dispose of Rodol- pho. It would have been so easy for the film makers to con- centrate on Eddie’s psyche, to build up sexual symbols. They do not — they give a clear and powerful picture of a community betrayed, and a - man who betrays himself and his class. American flowers for Russian composer ne Second Tchaikovsky music competition opened in Moscow on April 2. In front of the Moscow Conservatory, at the foot of a statue of Rus- sia’s greatest composer were a number of bouquets, and the largest of all came from Van Cliburn, the young Am- erican pianist who won top prize in the first Tchaikovsky competition, held in 1958. Now, four years later, he has wired the competition’s organizing committee regret- ting that he cannot be present. In the wire he said: “TI con- gratulate in advance the laur- eates for I know that their musical life will be enriched and the memories of this in- ternational fraternization will ‘HE WHO PAYS THE PIPER ALSO CALLS THE TUNE’ NEW YORK — If most of what you see and hear in newspapers, magazines, on TV and radio- sounds like the most recent speech made by one of the nation’s top em ployers don’t be at all sur- prised. Latest figures on who spends the advertising dollar, thus controlling policy of the means of communication, shows that 100 big corpora- ‘tions spent $3,500,000,000 in 1960. This represented 46.5 percent of all the money spent on advertising that year. The number one spender, General Motors, is also the - number one producer of war materials. Other big spenders include Ford, General Elec- tric, Du Pont, Westinghouse, who likewise profit from arm- ament production. It is hardly likely that these companies would sponsor TV plays deal- ing with peace, democratic rights, the need for shorter hours, or other key issues con- cerning the great majority. of’ the people. To the contrary the big monopoly control of what the public read and view seeming- ly seeks to propagate the idea that brutality and _ violent, death are an inevitable part of ‘our way of life’. At least this is what is disclosed by remain with them all their lives.” As the 159 contestants from all over the world gathered in front of the statue, Deputy Minister of Culture Kuznetsov welcomed them for having! come to take part in “this great and peaceful battle.” The contest would be a “great festive occasion for all music lovers,’ he said. Also present were members of the organizing committee, headed by composer Dmitri Shostakovich. Chairmen of the three in- ternational juries are Emil Eleanor Collins is shown in the photo at right. On Sunday, April 4, she appeared in the CBC’s TV .production “Heri- tage”. The following day she helped Vancouver-born violin- fist Arthur Polson and his siring quartet kick off a new CBC radio series, entitled ““World On a String’. The series is on CBU radio every Monday evening at 6:30 p.m. and will feature other leading local artists. National Association for Bet- ter Radio and _ Television which monitored seven sta- tions in Los Angeles. In one week, the monitors reported, “there were 144 murders, 143 attempted murders, 53 ‘justi- fiable’ killings, 13 kidnap- pings,, four attempted lynch- ings, several mass gun battles innumerable prolonged and. brutal fights, dynamitings, etc.” Gilels, David Oistrakh and Mstislav Rostropovich. Among greetings to the competition, which have come from all over the world, is one from Cosmonaut Herman Titov who declared himself “an ardent admirer” of Tchai- kovsky and ended with the words: “I wish you_ success, my friends.” The five-week contest — on: twice the scale of the previ- ous one — had a grand send off in the Kremlin Congress Hall with a gala performance by the Bolshoi Ballet of Tchai- kovsky’s ‘Swan Lake.” April 13, 1962—PACIFIC TRIBUNE—Page 9 .