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58

SR's PHOTO 1 M BROADWAY POSTSCRIPT

CONTEST RULES O'Neill and Faulkner via the Abroad Way 1. The contest is strictly for amateur # photographers. Anyone is eligible except employees of THE SATURDAY REVIEW, Pan American World Airways, members of HILE it is not correct to say of humor somehow do not lessen our their families, and individuals who per­ that Nobel-prizewinners Eu­ sense of terror in the scenes where sonally, or any members of whose fam­ Wgene O'Neill and William this pitiable self-centered old man ilies, are engaged in the manufacture, sale, commercial finishing, or professional Faulkner are unappreciated in their must bellow in true rage. Here Mr. use of photographic goods. own country, there may be some sig­ Hanson is Lear in a worn bathrobe. 2. Pictures must have been taken after nificance in the fact that Stockholm As the mother Inga Tidblad has a July I, 1955, during a trip away from and Paris have as their biggest the­ nicely contrasting frailty that reminds home for holiday or business purposes. atrical successes "Long Day's Journey one of Lillian Gish. She also has a 3. Black-and-White photographs Into Night" and "Requiem for a Nun," thoroughbred's quickness, and when a. Prints must be submitted in glossy prints no larger than 8 xlO, unmounted. neither of which have yet been seen she craves narcotics her hands move b. On the back of the photograph in America. O'Neill's play, on which uncontrollably about the arms of her must appear: name, age, and address of we must reserve full discussion until chair like frantic animals trying vainly photographer; make of camera and film its New York opening next month, is to escape a trap. As the play moves used in taking the picture; date and like so many other O'Neill plays a on we see this old lady retrogress into place it was shot. work of desperation, a work in which a child as she drifts away from the e. Developing and printing may be done by a photo-finisher or the entrant. a family of four modeled after his own shabby existence around her into a No black and white prints from color seeks some kind of peace in a life drug-inspired peace, transparencies will be accepted. where every human contact leads to Karl Julie plays the young con­ No composite pictures such as multiple misery and indictment. The text sumptive son with thoughtfulness and printing or montages are eligible. No abounds with old arguments hashed, art-work or retouching on prints or nega­ restraint, but this does not prevent tives is permitted. rehashed, and re-rehashed. him from bursting at times into emo­ d. No negatives should be submitted, But the Swedish theatre turns out tion. Utterly theatrical yet believable but original negatives must be available to be the ideal collaborator for O'Neill. is the anguished shriek he utters as when called for. he furiously smashes his drunken e. No prints will be returned. Not only does it have audiences who go to the theatre with an eagerness to brother in the face for jokingly refer­ 4. Color photographs ring to his drugged mother as "the a. Original mounted color transpar­ give themselves to any sincere and encies must be submitted (preferably intensive exploration of human emo­ mad Ophelia." Ulf Palme, who plays mounted in metal or cardboard, not tional crisis, but the lilting rhythm of the alcoholic whoring brother, also glass). the Swedish language gives the play holds his fire until his last act crying- b. Color prints are not eligible. a movement and a music that it some­ jag, which he plays all out. c. The same data must bo given as specified above for black-and-white prints times lacks in English. Each of the In short, director Bengt Ekerot has and should be written directly on each arguments thus acquires the rhythm given this long play an audacious and mount. of a point in a tennis match, and in­ lively production through the un­ d. Color stereos are eligible. Only one deed expletive sounds have been in­ abashed use of theatrical artifice. transparency need be sent. serted at appropriate times in order But the whole business is kept con­ e. Transparencies not awarded prizes will be returned to entrant only if accom­ to keep the ball in play. Also, because vincing by the completeness of char­ panied by return postage. the Swedes tend to be less ashamed acterization and concentration of his 5. THE SATURDAY REVIEW assumes no re­ of deep emotion than we are, they get actors which holds Swedish audiences sponsibility for negatives, prints or color great dramatic intensity into the in a state of high tension for four transparencies, but reserves the right to play's countless reconciliations. nervescraping hours. publish within its own pages as part of the Awards competition any pictures sub­ In young Bengt Ekerot's production mitted, whether winners or not. the long day sets out in a fairly sunny JtiEQUIEM for a Nun" is a work 6. To enter the contest, moil no more mood with squabbles trivial enough that has also benefited by being thon six black-and-white prints and/or to be patched up easily. But as the put into a foreign language. One of six color transparencies to this maga­ zine's WORLD TRAVEL PHOTOGRAPHIC AWARDS play progresses into night the family France's leading authors, Albert Ca­ DEPARTMENT. All pictures must be post­ battles become more soul-shaking and mus, has gone back to Faulkner's marked no later than November 1st, the reconciliations more desperate un­ novel to fashion its details into what 1956, to be eligible for judging. til a final state of complete self-revela­ he sees as a modem tragedy. In it we Important: No more than twelve pic­ tion is achieved. tures, six in each category, can be see the play's central figure, Temple submitted by any one entrant. The Swedish cast is gilt-edged. Lars Stevens, purged and seared by her 7. Pictures will be judged on photograph­ Hanson is naturally red-faced, which bout with the compulsive force of evil ic quality and originality in choice and underlines the block-headed irate- until she is wrung dry of mortal long­ treatment of subject. The decision of the ness of the Irish father. Mr. Hanson, ings. Awareness of the truth about our judges will be final. Sweden's greatest actor, gets all the modern selves does not lead to faith 8. Before receiving a final prize, the playful comedy out of scenes where entrant must sign a statement that his and glory. It makes us wretched and picture, or any closely similar picture of he can pantomime dealing of cards, only compensates by giving us sta­ the same subject or situation, has not pouring whiskey, or niggardly turn­ bility and peace. As written with con­ been and will not be entered by him in ing on three light bulbs with the ex­ stant awareness of the larger issues any photographic contest other than the aggerated abandon of a playboy mil­ one conducted by this magazine, and has involved in the smaller actions by not been and will not be offered for pub­ lionaire. And unforgettable is the mo­ M. Camus, and as acted with a haunt­ lication in any manner. Winning black- ment in which he recites a line of ed burning intensity by young Cath­ and-white pictures and color transpar­ Shakespeare with the futile stock ges­ erine Sellers, the Faulkner story encies become the property of THE SAT­ tures of an old-fashioned actor. Yet emerges as a cauterizing theatre ex­ URDAY REVIEW. I his frequent participations in the game perience. —HENRY HEWES. PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 59

SR GOES TO THE MOVIES The Saturday Review On and Under the Sea on Microfilm

WO RECENT pictures from Eng­ ther willing nor quite able to admit to Clear, sharp prints that save library storage land suggest that the British film himself that in another two years his space and costs. Vols. 1-33 (1924-50), $260; Tmakers, despite all their current dearest possession must die in the efforts to out-Hollywood Hollywood, ring. There is an awkward attempt to Vol. 34, $8.45; Vol: 35, $8.40; Vol. 36, $9.20. have not forgotten entirely how to parallel the growth of the bull with Order direct from— make those fresh, individual, and un­ the career of the matador who will mistakably British comedies that first fight him one day, much as Tom Lea found favor in this country about ten did in "The Brave Bulls." But for the years ago. "Wee Geordie" (Arthur), a most part the film sticks close to the genial fable that leaps from the Scot­ bull and the boy as they work and tish Highlands to the forthcoming play together against shimmering vis­ Melbourne Olympics and back again tas of yellow plains rimmed by snow- with urbane wit and grace, might peaked mountains. The CinemaScope be described as sophisticatedly bu­ photography is by Jack Cardiff, the colic. Indeed, its hero, neatly played Englishman responsible for the cam­ UNIVERSITY MICROFILMS by Bill Travers, Is a kind of kilted erawork in "War and Peace"; and Li'l Abner, a none-too-bright young once again he proves that he is per­ Ann Arbor, Mich. giant who would rather throw the haps the greatest color cameraman in hammer than pitch the woo. Even the the world, whether capturing the roll­ blandishments of a Danish Valkyrie, ing cloud formations over a shadowed herself a shot-put champion, fail to valley, the green parks and bustling take his mind ofi his muscle tone. Inev­ streets of Mexico City, or the gaudy itably, a Highland lassie does manage spectacle of a major bullfight. Michel to capture him, but not too soon to Ray, an English boy, is extremely ef­ spoil the fun. fective as the little Mexican. Fermin And the fun, for a change, lies less Rivera, one of Mexico's leading mata­ in the verbal play of crackling wit­ dors, lends authenticity to the scenes ticisms than in sly and subtle sight in the ring. And while the climax may gags. Wee Geordie, for example, is put a slight strain upon one's credu­ first seen as the puny, undersized butt lity, the producers have attempted to of all his schoolmates. Then he comes forestall this by providing the press across one of those ads that begins, with translations of a newspaper clip­ "I can build muscles for you," sends ping indicating that in 1936 the pa­ OLI3 ^V\C off his pennies and a dissolve or two trons of the bullring in Barcelona COIVI F»/V IM ^V wilh PAUL CLRIRE JOHN CORAL later has developed into a veritable helped bring about just such a happy ROGERS • BLOOM * NEVILLE * BROWNE colossus—a transformation suggested ending in real life. ,„ "RICHARD II" -"ROMEO and JULIET" by the forest of beams now shoring up "MACBETH" • "TROILUS and CRESSIDA" » • • WINTER GARDEN -OCT. 23 ...,.• JAN. 12 Geordie's fragile home. The British for Compl.-fc Schi'dule and Prices Wnfe eccentrics are out in full force again, I am afraid that I must file a minor­ S HUROK. 711 Fifth Ave. N Y. 72 from the slightly daft Scottish laird to ity report on Jacques-Yves Cousteau's the prim and fussy civil servant. The "The Silent World" (Columbia), a STRIKINGLY REALISTIC . . . GENUINELY comedy falters a bit when the Danish beautiful and often diverting camera :TENDER AND COMPASSIONATEI"—Timej i lady begins thrusting herself on the exploration of the murky world be­ Tei^hy simple Geordie, an artifice of plot that neath the waves. Cousteau, who in­ almost seems to have been grafted vented the aqualung and is himself • (THE MAD) onto the picture from another film. But one of its most ardent exponents, Trans-Lux sSmtmLexington she is quickly disposed of, along with here reveals the incredible colorations PLAZA 3-2434 the Olympic Games, and the cameras of submarine life in all its forms, return to the bracing air and the soft proves that it is possible to make purple heather of the Highlands for friends with fish, and has recorded a MEMO TO WRITERS: The priceless ingredient in every book is the a finale that strikes just the right note. particularly gruesome attack by integrity of the publisher. If we are convinced sharks on a dying whale. But one of the quality and sales potential of your man­ » » » uscript, we will offer you a fair cooperative searches in vain in this film for the contract. Publication will be handled by men of vision and experience. Submit your manu­ Another off-beat film of great charm magic, the poetry, the philosophy that script to: and rare physical beauty is "The Brave were in Cousteau's extraordinary THE AMERICAN PRESS One" (RKO), a story of Mexico and book of the same title. This is a good Atten: Mr. Sounders, 4S7 Fifth Ave.. N.Y., N.Y. the bullring. It is a simple tale of a show, not a soaring, stirring introduc­ peasant boy whose pet calf grows into tion to the sea. Indeed, the scientific If you ore the talented outiior a prize bull destined for a Sunday aft­ aspects of the Calypso's expeditions of an unpublished manuscript, AUTHORS: let us iielp gain tile recognition ernoon corrida in Mexico City. Little are merely mentioned at the outset of you deserve. We will publish TALENT your BOOK—we will edit, design, Leonardo is both proud and fearful— the film. The result is a documentary GOING TO print, promote, advertise and proud that at the testing of the two- that, for all its fantastic imagery, se// it! Good royalties. WASTE? WRITE FOR FREE COPY OF year-olds his Gitano was the bravest seems formless, repetitious and pur­ HOW TO PUSLiSH YOUR BOOK of them all, and at the same time nei- poseless. —ARTHUR KNIGHT. COMET PRESS BOOKS. DeBt.SR2IO,200 Varickst., N.Y. 14

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