I Vol. 49 — No. 42 Fordham University, Bronx, N.Y. Tuesday, December 12, 1967 Fleming says Why is this man smiling? Ram down SetOH Hall; \fordham has 'far Langheld leads with 28 Recent changes at Fordham came under close scrutiny in last By Tom Abinanti Sunday's New York Times MUKU.- Saturday night was joyous for Fordham basketball ziiio and, despite much praise, fans. The Rams chalked up their first victory and Bill the judgment was not exactly Langheld sunk his first field goal of the season. A crowd favorable. • of 3,100 highly partisan Seton Hall fans saw the Rams Alumnus Tom Fleming, the take the lead at the opening tap and keep it until the final novelist and free lance writer buzzer when the score read: Fordham 94, Seton Hall 87. . who authored the much awaited Led by Langheld, Bob Kellert article, concluded that "... . Mc- and Ken Parker, the Rams com- Laughlin's remark ••ibout being bined a fast run-and-shoot. oi- Protest ban the last Jesuit president may fense with a tight defense. Lang- turn out to be not merely a held, who had been 0 for 11 SUCKS, but a harsh prescription aginst Yale, scored 28 points, 17 redefined if Fordham's American reach is in the second half. Kellert com- ; cviT to exceed its Catholic plimented Langheld with 25 by Hershey •,'rasp." points and 17 points in the first half. Parker sparked the defense by Steve Meyer Earlier in the article Fleming with 10 of the Ram«' 47 re- Draft registrants who engage wrote that "Fordham has taken bounds. in "lawful protest activities" dramatic strides forward in re- against the Vietnam war will not cent years but it started from Bill Somerset, 6'5" senior, and be penalized by having their de- so far backward a position that Larry Rovelstad, a 6'3" .junior, ferments canceled. were top scorers for the Pirates. it still has far to go." This was the essence of a joint Somerset had 20 points and 11 The article, in preparation statement issued Saturday, Dec. of the Setonians' 35 rebounds. since late May, was severely crit- 9, by Attorney General Ramsey Rovelslad had 18 points. ical of Fordham's religious j»st, Clark and Lieut. Gen. Lewis B. and emphasized the effect this Kellert scored the game's first Hershoy, director of Selective has on the current quest for two points with a jumper. That Service. The statement was is- "greatness." was the closest the Pirates were sued in response to the increasing Fleming quotes one classmate all night. Even the Pirates' best protest from the academic com- (C'50) who left graduation say- effort, coming with 5 minutes munity, civil rights lawyers, and in^, "never let me forget how let in the game, only brought some Senators against a letter much I hated this place." In his them within 6 points. sent by General Hershey to local own analysis Fleming argues With 13:45 left in the first draft boards dealing with "illegal that "the combination of indif- half, the Rams led 21-11 andactivity" by registrants, with de- ference io the mass and frustrat- Kellert was 5 for 6 from the ferments. ed fury in the elite explains the floor. Langheld got hot with 5:38 As regards lawful protest, the deplorable state ot Fordham's left and hit his last five shots statement said the following: alumni support.". of the half. Fordbam led at half- "Lawful protest iu'ljvltlrs, He attributes this "fury" to time 56-40. directed to the draft or other essentially "parochial" teachers, The second half was like the natiouul issues, do not subject to the occasional, intellectual re- first. Fordham scored first and registrants to acceleration or any pression and to a "resolute pur- held its lead. Parker hit a foul other special administrative ac- suit of mediocrity" by the Jes- shot, Somerset put in a jumper, tion hy the selective service sys- uits. Langheld and Kellert hit for two tem. The lawful exercise of rights As for the recent m o v e more points each. With 11:54 on of free expression ami peaceful towards greatness, Fleming the clock, Langheld missed his assembly have incurred ami will seems sour about that, too. "Too first shot after 9 straight bas- incur no penalty or other adverso. much of Fordham's revolution- kets, lie then followed up with action. These rights are guaran- •ziii'j; still looks inward," he a layup, a foul shot and •-.mother teed hy the Constitution. They -•ate*, ". . . it is still obsessively lavup and Fordbam had its larg- are vital to tlie preservation of involved with the Catholic est lead of the evening, 7iS-~>!). free institutions, which our men i-'lmrch and its internal hang- The Rams' victory saw four in Vietnam are liRhting to pro- ups and institutional ambitions." men hit in double figures: along tect." Fleming did praise the miss- with Langheld and Kellert, Mc- The statement did emphasize, ive effort to upgrade the faculty Laughlin and Witkowslci had 12 however, that both registrants 'mil to declericalize the Admin- and 11 points, respectively. Kel- and those not subject to the draft, istration. Father McLaiighlin, lert and Langheld each hauled who violate the Selective Service- himself, emerges as sort of a down nine rebounds. Act or illegally obstruct recruit- hero, a "maverick" who is very I'ATiiiOH McLAIIHHLIiV: A "iiuiverlck" according to Fleming The victory evened Fordham's ing and enlistment, would be sub- much responsible for all good at who says tluit "anyone who is in touch with (he kids of this era record at 1-1 while it dropped joc-'t to all penalties provided by Fordham and none of its evil. knows that an attempt to sell MHMlioerity phis rt'.lij;ion Is doomed." Seton Hall to 1-2. law. Two views of a radical 'out of joint' by. Jim MrCann l'(i ''M1' i'»"<' "'it ih< ne mt by John Mc(ilennon the war on internal advance* Communists on I oxlh mi Ki< id d i\ w.u "I nation il ]il«i,itin Hob* it Sthrer is •'! radical. nicnt." N"t .vet, but tin v II In mil th l< liould hi Vh'iu'd ill ,1 d.l >iu. 'I he inaiiacin^ editor ol' llitm- Turning liis attrntton to the •"•"("i, accord nit' to tin n>w"i (nuli-.l iiu t'ubiii u\ ilutin p n ts in I ' i, mi1 pnnidly noknuwl- niearis of demonstration, Sclieet* mi'iit's jnstltic ition of it VH t «i lei'itii'iite vitli.n t'r Cnii I'd td h' pulitit-al philosophy be- ur<:<'d dissidents to employ tl'.t? iI:Wi jiolicy. Oi o ml H ih ii ''M11 ''• '(' • nn i th' me h ilii ' >]»• i umul ol' oviM* :Jf)O I-'riday tactics of the <"omnv.-;s F'arty of Seheer, the bi udid \ jiitblul I Im \ if \i.d I. i in the (';iinpii-. ('enter l»alIronm. India durin!; that country's drive I'-i'ikinp, niaiim'inr i ditm i Truman Capotes "IN COLD WHY DID /ETNA AGREE /Etna Life & Casualty de- Wo constantly tiy to act like TO BOND EX-CONVICTS cided that at last one insui- a good corporate citizen. IN A PIONEER ance company should. Our business may be selling EXPERIMENT? Today, in cooperation with BLOOD" insurance. Men with prison records the.Federal government and STAR rs DrrrMBEP H generally have been consid- civic leaders, pilot programs But our concern is people. ered poor employment are underway in two major risks. Employers are chary cities. c of assuming such a risk We undertook this revolu- Jrd /wr ul ('Olh t PL without some kind of guar- tionary step of bonding "tin- fj.M/j n antee. In the past insurance bondables" to help people A <^ilunihi.< PiVtnits Hek-.tsr In P.ma\ision 2 • THE FORDHAM RAM • Doc. 12. 1967 Perspective on the arts / Won the War' By Brian O'Hanlon rolt- / Won tlie War, screenplay by Charles grainy like ncwsreel and tinted a partic- Wooil, based on Patrick Ryan's novel; pro- ular color—green for Dunkirk, red for n mid directed by Richard Lester, the Dieppe raid, orange for Alamein, etc. esenled by United Artists. At the Art The soldiers that die in Goodbody's St. & University Place) and York memoirs become the colors of the news- 'tj|/i St. <£ 1st Avenue). Time: 109 mill. reels that were juxtaposed with their deaths. Each then fights on as if he had In How I Won the War, Richard Lester never died, thereby showing what a lias shot up war into a thousand bloody 1 slight impression the deaths of his men pieces. What's more, he's left the pieces made on Goodbody. scattered about to rot on the hallowed ground. Those of his men Ui-at survive the Afri- can campaign go to their deaths in To be more exact, Lester has shot up France. This portion of the movie is tint- the myth of war as some sort of sugar- ed blue and is starkly realistic. John coated hell which is fought for the best Lennon as Private Gripweed receives a of reasons and even has many good as- massive mortar would in the groin. Bleed- pects and results. This myth, Lester will ing profusely and trying futilely to hold proceed to show, exists only in the minds his guts in place, he delivers a bitter of men. monologue in thick Cockney. DESERT ATTACK: Goodbody tells It like it was in Africa Therefore, despite all the advance pub- "I fought tile war for three reasons," licity, Lester's movie is specifically anti- he. says, "but I can't remember what war only by extension. It is only anti- they were. The first one gets you in. The war-movie by extension, First and fore- second is to stay alive. I don't know what most it is against the way that men rc- the third is. But I'm sure they'll find one. tioiialize going to war and then make it And I'm sure it'll be a very good one." the subject of nostalgic and grossly inac- On top of his already complex use of curate memories. time and space Lester has thrown in still How I Won the War is drawn from the another wrinkle. Scattered throughout memoirs of Lieutenant Goodbody (Mich- the movie are scenes of Goodbody as a ael Crawford) and deals witli his experi- German prisoner, an event which did not ences in World War II. The movie pre- take place in real time until months after sents them, like all good memoirs, as they the deaths of his original troopers. appear in retrospect. The byplay between Goodbody and his Goodbody is trained by a pompous fool German captor is fascinating. But. as in of an officer, Grapple (Michael Ilordern), tlie other scenes which are part of Good- whose hatred for the Hun and love of body's memoirs, it is unreal and absurd. tanks i:s overshadowed only by his obses- In one quietly powerful scene, the sion with the "wily Patlian." German officer, who is fond of painting Assigned a troop of green recruits, the and gardening, tells Goodbody, "I love the still-green Goodbody whips them into no Jews." Goodbody asks, "Have you killed shape at all before their assignment to many?" lie replies, "Oh my yes -quite a North Africa. Here they are ordered to few. What do you say to t hat ?" Good- set up an "advanced area cricket pilch" body answers, gulping, "Good Lord. But behind enemy lines. then I try to find a bit of good in every- As the middle-aged Goodbody remem- one." bers their adventures, all is glorious: a Goodbody feels quite at home with tiie German oil dump is attacked; prisoners genteel Superman, telling him, "I can talk VIEW FROM THE ISUI1XU,: Milking the Hun pay u stiff are taken to the tune of Colonel Bogey's to you. My men never understood me like inarch; a German plan is shot down; and you do." Undoubtedly the German's own man's crushed body, he adds gluatingiy, nods sympathetically. "I know you would," the cricket pitch is laid out. philosophy on war adds to their compati- "The cheek would have bounced anyway." lie says, "but I won the war." As all this is going on, men are dying, bility: "I think we're all blameless," he The final scene shows the wrinkled, middle-aged Goodbody of today. He is That is a very spare plot outline of but no one seems to notice. A jeep trig- says. How I Won the War. It is not standard gers a mine and the wounded are ig- At the approach of the Allied armies, having a reunion of his men, and the only one present is a coward who could not procedure for a reviewer to retell a film's nored. Private Gripweed (John Lennon) the German sells Goodhotly the "last in- story, Yet this film is such a complex has tlie only words for the dying. "Don't tact bridge over the Rhine" for a $19,000 force himself to fight. All the others are 1 melange of time and perspectives that it take it too hard," he says. check. The German is crushed by the first dead, of course , but Goodbody explains quite seriously that he has tried for years should prove helpful to the first-time As Goodbody's men die one by one, tank to rumble over the bridge. Goodbody, viewer. Lester p-aralells their freakish deaths only briefly sickened, revives himself to get in touch with them all. with scenes-of war as it really is. Forsak- with a soliloquy on the glory of war, that "I would have liked to help, you know, What's wrong with How I Won the ing the color photography in which the luamiifirrii! cricket match played by men really I would," the coward explains over War? Well, it's about twenty minutes too memoirs are presented, Hie film becomes wilh God as umpire. Looking at the Ger- a drink, "but I just couldn't." Goodbody long.. Some scenes, especially during the first half-hour, exist solely as vehicles for one line jokes or vaudeville-type sight gags. Much of the clowning just isn't that funny, and the soldiers' Cockney ac- cents are a real challenge to the American ear. It is much easier to tell what's great with Lester's film — and make no mis- take, this is primarily Lester's picture in philosophy and realization. In addition lo an outstanding performance by Craw- ford, t hrro is good support from Lennon, Michael Hordern, and Carl Michael Vog- ler as the German officer. As Goodbody's, nmskeleor.s, Roy Kinnear, Jack MacGow- ran, and Lee Montague stand out. Al- exander Knox makes the most of his few lines as the American general (Omar liradley?) who is enthused by Goodbody's capture of the Khine bridge, ("Hot dawg! all said to mahself!") IImv I Won the Wur demands a great deal of attention and participation of it9 viewer maybe too much for some view- ers. Much of it simply cannot lie digested the first tjme through. However, a second, or Ihlnl viewing will conllniie to provltlo fresh Inslghtx and, perhaps, a vague, Ilimil'h real, understanding. It is worth the effort if only to be able to dUcu^s l:,H;i jmi In' this iiiurli-to-be-dl'u'UKsed film. Dec. 12, 1967 • THE FORDHAM RAM • Po«j«- Opera have all the right movements, but these gifts will have I only superficial dramatic value if they are done solely! for the sake of visual effect. Tozzi is annoyed by the fact that opera is so cliche. Met's Georgio Tozzi ridden. Over the years certain tilings, which may he By Kevin Carlson 'I am a believer in growth and evolution," Tozzi totally contrary to what the composer intended or continued. "Since an individual's body changes and which are just plain bad taste, have become tradition In the mysterious, somewhat miraculous, and often and are expected by the audience. uncertain profession of operatic singing, there are few so do his emotions, it is reasonable to expect that as individuals who are fortunate enough to have been time passes his voice will grow and change also. Voice A typical example of this is the role of Mcphis. born with a beautiful voice, and who also possesses is one continuous process of conditioning." He said, topheles in Gounod's Faunt. Here the devil is usually the intelligence, skill, and temperament to use that "Kvery time you get a new piece of music you are portrayed as half-human, half-demoniacal monster, voice artistically. Such a singer is Chicago-born bass studying anew; you're learning voice all over again." complete with ..raised eyebrows and sneering laugh. Giorgio Tozzi. Winning warm and deserved praise this Of course vocal agility is not the only skill an "He is not out to scare Faust," smiled Tozzi. "Ho is past season for his newest role at the Met, that of opera singer should possess. The question of the im- Faust's alter ego, and you can't portray an abstrac- Hans Sachs in Wagner's Die McLitcrsinger, Tozzi al- portance of acting on the operatic stage has long been tion of evil. On stage the singer can't go around ready has behind him a career as diversified as re- a topic of discussion, particularly at the present time. with a sign saying: 'I am evil'. The evil must come cording operas for RCA Victor and London records, Should a singer express everything with his voice and through in what he perpetrates, not through MepliLs- being featured as a guest on I he "Tonight Show," employ a minimum of stage business, or should his topheles himself." and escorting Jacqueline Kennedy to the Met. ycting be as important as his singing? Tozzi expressed disappointment that the acting stan- dards in opera arc not as high as they should be. He is Considered by many to l>e one of today's finest Tozzi is well qualified to answer this question. He disheartened by ham actoi's in the profession. Very often singers, the basso is kept busy performing in pra- enjoys acting and has sung in a variety of operettas one reads in reviews that a certain singer "dominated tically all the major opera houses of the world. Yet and musical comedies, including.South Pacific this past the stage". This is an unfortunate approach, Tozzi ieek when I arrived at his New Jersey home, Tozzi was summer at Lincoln Center. For him acting and singing "A performer should not dominate the stage," he said coaching a young singer and giving him some pointers are inseparable. seriously.* "He should fit in. You should be a vehicle lor on vocal technique. Tozzi was doing Ihis on bis own "Acting is the communication of dramatic values the music, not vice versa. A performance musl blend time, as a favor to a young singer who had come to an audience," he explained. "Therefore, good sing- together as a whole. The hardest thing to do is swallow seeking advice. ing is good acting." your ego." Finishing the lesson, Tozzi relaxed and began talk- Tozzi is well aware, however, that opera is essen- Giorgio Tozzi must have swallowed his ego. In doing ing about the basics of singing and the human voice. tially theatre, that it is drama set to music, and that so he has gained the respect and praise of critics, fellow "It is not natural for any man to sing," he said, "but acting is important for a totally satisfying perform- artists, and audiences around the world. He could it is within his ability. Of course it helps if the voice ance. But he distinguishes between acting and his- have become an opera star just on the sheer beauty of is beautiful to begin with, but the most important trionics: "Mere movement is not always acting." He his voice. But he chose to be more than a singer of thing is instinct." explained that a person may look good on stage and notes. He strove to be a conscientious artist as well. Czech Film 'Closely Watched Trains'-.delightful By Sue Wells self a mail" with a bouncy con- ity, and tell how this movie is Closely Watched Trains is ductress, unable' to find an "ex- great because even its cliches something of a guessing game. perienced woman," has attempted and improbabilities are real. We Is Jiri Menzel's film simple suicide, has jbined' the Resis- are forced to say that it is im- sexual comedy? Is it something tance. The night "before the mediate, not because the story of like "the poignant story of a boy bombing of'the "closely watched Milo concerns us, but because becoming a man?" Is it—set as train"—a super twenty-eight-car Menzel has made it our concern. it is in the Nazi occupation—a Ammunition Special—a Resis- Its comedy, its pathos, its satire, subtle political satire on totali- tance courier, aptly named Vic- are simply expressions of its tarianism? toria Froi, appears. The station- vitality, of the viability of the But these questions are, of master's leather couch is ripped, world it creates. course, the wrong questions. The a too-small uniform hat falls to theories break down, the anal- the foor, and Mild arises' to de- The film's realism does not ogies are limp. Closely Watched clare himself a new man. He consist in true-to-life situations, Trains uses all the cliches—the blows up Ihe ammunition train, but in its faithfulness' to this sexually inadequate youth, the dying bravely, Simplistic? Ah world. greying Don Juan, the sterility yes. Unrealistic? Indeed. •In the course of the film a of society, the Underground. Yes, But wait till you see. This kid career bureaucrat warns the sta- it's all there, in poetic black-and- has scars on his wrists that make tion staff to "be especially care- white. But the point is that the SS men smile and spare his life. ful of closely watched trains." cliches are used. The film does And when he thinks he's going And the lugubrious locomotive not transcend them, it employs to die he looks at Hie spring and scenes, the "obligatory" situa- them. makes it more beautiful than tions, in this film, do indeed bear For example: Milo, youthful, Disney time-lapse color. And be close watching. They are likely wheyfaced protagonist, low- runs after the bouncy conduc- to explode delightfully in our levcl trainee at an obscure Czech tress waving, waving, waving. faces, rather like a twenty- depot, is unable to "prove him- Here we degenerate- into banal- eight car Ammunition Special. TO/.ZI: liass-baritonc of tlir Metropolitan Swedish FiBm Elvira Madigan: beautiful, elegant, almost a fairy tale By Chris Italtlino Although society in general is unsym- To see the movie Klvira .Mudi^an, and pathetic to the lovers, individual people remain unmoved by it. may be impossible, are not. In some wonderful, warm scenes lor it po.ses an ultimate question: "Is life Elvira communicates witli extremes of worth living without love?" persons: a kind peasant woman who The two lovers, Elvira Madigan, the teaches her to Unit, a group of classical childlike yet sophisticated light rope walk- musicians who invite her to their recital. er, and Count Sixlen Spurre, the alienated Sixten, though, is not as successful in aristocrat, find their tragic answer. Bui communicating witli ordinary people. He we, the audience, are not called upon to remains alienated and fettered because of agree with, or to condone them. This is, his background, despite his attempts to perhaps, why we are not thoroughly sad- overcome it. His bearing is always un- dened by the ending. Klvira and Si.xten consciously aristocratic, and he is auto- have made their decision; we might not matically addressed as 'sir'. have made the same one. Reinforcing the almosl fairy tale mood Bound inseparably anil intimately with of the movie Is the excellent acting of 1he romantic theme of the movie is the Pia Degermark as Klvira, and Thommy brilliant photography. Anyone who has Bei-ggren ns Sixten. But Ihe film is con- spent days walking in the counlry will stantly kept at Ihe 'almost' fairy tale recognize the Inexplicable, ecstatic beauly level. After many beautiful scenes of the of the Dimish countrysiile scenes, lovers' days in the countryside, what is Hut if nature is represented as neutral practical In us begins to ask, "What about to [he lovers, society is depicted .'is hos- tomorrow?" as even Klvira and .Sixlen tile, or at tile very lrasl, ttiiHymlinlhetic. are forced lo ponder evenlually. hven the newspaper account thai i.Olvll'M UK Ira MndlKiiu is a motion picture of read'; to Slxlcn colicernliiK her mysterious tragedy: If pones questions and situation; dl'.iippi'iiriiiifp iriiiii the circus Is humorous Ihut are not easily, If at all, answered. only lieraii'io ol' Its uiicom|irchi'nilh>t: ili'- But Its homily and elegant humanity mark M'riplliili of her. II as a wonderfully exceptional movie. i,iivs:i;:,: .v,, hititi, ,„ ., i,.,, ,, THE FORDHAM RAM • Dec, 12, 1967 Harkness Ballet: great energy, obscure results By Barbara Ecker costuming of "Youth". Isaksen wore a The Harkness Ballet has long since simple voile dress, and Rhodes regular closed its first New York season, but it slacks and shirt sleeves. The costumes is now secure as part of the definition of became tools of the drama—a welcome tho American dance world. relief from tutus, by now a stereotype of The company itself has a few major ballet, and tights that give a soft, effem- faults yet. It has to learn cohesion of a inate line to male dancers' legs. corps instead of letting good individual The Harkness repertoire consisted of a dancers break the unity •aimed at in corps running race of premieres, and the general work. Harkness has never been known impression was of great energy but ob- for its musical selection, and this weakens scure results. One very important new the power of two-thirds of its dancing. work is "Monument to a Dead Boy" by Its good points are scenery, generally the Dutchman, Rudi van Dantzig. Here Spartan, as in the -abstract designs of the man watches himself as a boy and Ter-Arutunian and Davison, the best comes to understand his problems in terms scenery being atmospheric lighting. It of his past friendships and the sexual ;ilso has the usual enthusiasm of a young brutality of his parents. The ballet ends company, with the added benefit of reach- with either the death or renewed life of ing American audiences, It is an American the man—choose your interpretation. The company with modern choreography that use of electronic music by Jan Boerman is more in tune with the American tem- creates an entirely effective atmosphere perament. for the psychological import. It even buoys up and surrounds the choreography—as, I The Harkness' strongest feature is its indeed, the foundation of music should magnificent selection of soloists. Elizabeth support the dance. Carroll is perhaps the finest technician in America at the moment. Brunilda Ruiz The evolution that ballet has undergone is a dramatic, passionate dancer. Lone in the last few years is clearly set in RHODES: As he leads Harkness troupe in "Requiem For Jimmy Dean—A Isaksen was described by a fellow viewer perspective by "Tchaikovsky" by Brian Work in Progress." as a Balanchine girl, coldly delicate and MacDonald. Although I find this piece the realize that the purpose of technique is of modern dance. The posture and posi- precisely beautiful. Helgi Tomasson is a worst of their repertoire (and of any re- the expression of the music, movement, tion of the body is not seen as an •arabes- strong, handsome partner with virtuosity pertoire that comes to mind), I still rec- or emotion. que or a pirouette but as response to the in his solos. Finis Jhung is a gifted dancer ommend it. It's a living satire of all Modern ballet can still give a good music or to emotion. Arm movements are whose gaiety wins audiences. But the best ballet at its worst. The program notes narrative ballet in "Sebastian" by John expanding and becoming more imagina- male dancer is Lawrence Rhodes— a re- say, "If- Peter Illyifeh Tchaikovsky had Butler. The story is of a Moorish slave tive. There is a better union of subject, markable feat for a dancer and an been entertained at Newport at the turn who falls in love with a courtesan and music, and movement. An awareness of American one. His compact body performs of the ^century,' it might have been at a then sacrifices himself to save her life. sex charges every dance, sometimes with adagios with the smoothest control; his gala such as this." And Russo-American Rhodes and Ruiz together give a drama- the West Side Story spohistication o£ technique :s sure and his partnering is relations would have been broken a few tic strength to their pas de deux, and "Requien for Jimmy Dean" which has completely considerate and confident. decades earlier. Newport is faithfully re- the ballet becomes a showpiece for Rhodes the men eagerly finger snapping while Further, Rhodes is an actor. This makes created in the. scenery of Tiffany grape in his solos. being bowled over by the hip-swinging him the lead in most of the numbers, cluster. lamps and erotic statues of girls; or else, as in "Time Out of Mind," and especially suitable, for the psychologi- nymphs. The Russian costumes are ridic- The turn is away from the ethereal, it becomes a rape of willing Sabines. cal ballets that are the favorites of mod- ulously over-elaborate with golden wigs feminine ballets of the last Romantic The Harkness however, is not the only ern choreographers and form an impor- and tinsel weighing down the tutus. century. As Macdonaly said, "Americans company to benefit from the changes in tant concern for American companies such move closer to the floor, use it, bite into And what of the dancing? It is of the ballet. Exciting modern choreography as Harkness. "Youth" by John Butler is it." This is what is making modern chore-, drawing-room divertissement school. The characterizes New York City Ballet, in in this psychological style. Lawrence ography more exciting. Ballet and modern technique learned in the classroom is Manhattan's Festival Ballet, and in Amer- Rhodes and Lone Isaksen begin in silence, dance are learning from each other to neatly pirouetted out to the audience for ican Ballet Theater, all of which are but soon Barber's "Adagio for Strings" the great benefit of ballet. Movement of applause. It has that tippy-toe appearance, the body is now similar to choreography still playing their New York seasons. accompanies' .them (a rare exception to emphasized by the mish-mash of Tchai- the general caliber of the music). The kovsky airs. Audience laughter was high girl leaves. The boy continues the ballet and answered by grins from several Books as u dance of longing for her. In this, dancers who realized what a farce "Tchai- Rhodes can powerfully "act" with his kovsky" is. body to convey emotional tension in his This was nineteenth-century ballet. The 'Report From Iron Mountain'' sustained positions, which, however, re- important thing is that this isn't modern main perfectly controlled. Could the land of the free and the home the most shocking conclusions of Report ballet. We've moved beyond being satis- of the brave, that bastion of democracy, This reviewer also was impressed by the fied with correct positions and steps and Kroni Iron Mountain involve what could America, replete with benign, apple pie- substitute for the functions of war should eating citizens—could she ever tolerate peace break out. ritualized human sacrifice, industrialized The prospects of peace are truly Orwell- slave labor, and organized environmental ian: a vast and deliberately wasteful pollution? space program (to stabilize the economy), America may have to, if she ever finds blood rituals and human sacrifice (to con- herself in a world permanently at peace, trol aggressive impulses); a sophisticated, according to Krport I'"roni Iron Mountain, form of slave labor (for social control); which purports to tic a genuine U. S. computer-controlled procreation (to limit Government document - - top secret, of -and perfect the racel; and deliberately course. gross air and water pollution (to provide Keport is ostensibly the work of fifteen a common thruat and a "new" enemy). American intellectuals who were charged To prepare for a peaceful world the by a Federal agency with the task of group recommends the establishment of a determining what effect pcrm.'inent [wTmancnt War/Peace Research Agency. peace would have on our society. "The war system cannot responsibly be Thi'ir conclusion: war is something Amer- allowed to disappear unless we know ex- ica can scarcely do without. actly what we plan to put in its place," In fact, the report maintains, war Is they conclude. "Ihc principal organizing force in our so- Report 1'ioni Iron .Mountain is now cii'ty." It serves vital functions in such generally judged to be a very clever fraud. areas :is the economy, politics, sociology, It has been variously attributed to John ecology, science, and culture. In the un- Kenneth Galbraitb, Kenneth Boulding, likely, indeed, tragic event that the war Richard Goodwin, and other strategists system breaks down, and there are indi- familiar with the workings of government cations that it may, certain alternatives and the jargon of "think tank" style will lie necessary to insure our survival. reports. What sort of invaluable functions does A .more likely guess is Leonard C. the war system serve? Allegedly, it allows Lewin, a political satirist, who wrote the economic "waste" outside the law of suj>- hook's Introduction and supposedly ar- ply and demand, which enables the gov- ranged for Its publication. In keeping with ernment to control and stabilize the econ- Report's fraudulent realism, Lewin asserts omy. It also gives the government "legi- that a member of the study croup Itself, timacy". How else can the citizenry be in iin act of conscience, turned the report prolected from the enemy unless tight over to him. cunt ml is maintained? Report is scarcely side-splitting humor, In addition, war provides an outlet for but It Is funny In n grim way: funny be- "destructive nnlisorinl tendencies." Here cause (if its exaggerations and grim bo- Ihi1 Krlcrllvo .Service plays a key role. cause II holds a grain of truth. Thoro Is, War cvi'ii acts as a kind of nnlui'ill selec- it would seem, more |o war Hum meets I inn in inverse: it pri'vonts ovor-populn- Hie eye, How long, one must wonder, he* lifiii by killing off oiii' virile young men. fore we rc-'dly have n War/Pcure Kr'auirch. Then1 an1 many mure such ostensibly Agency? valid reasons why war Is necessary, hut —Itrliui O'lltinloii Dec. 12, 1967 • THE FORDHAM RAM • Are law standards killing Amman opera: I By Philip Conlon Tho opera is dying in this country. Opera in America is dominated by one institution, Iho Metropolitan. The Met sets low artistic standards which tho new op- era-goer is forced lo accept. The basic fault of the Met: is its un- questioned philosophical -assumption: the opera house is a museum, preserving "masterpieces from the past," rather than a living theater. This charge is more serious than the oft-heard complaint, that the Met scandalously neglects contempo- rary composers and off-beat composers of the past. I contend that the Met refuses, with a few reluctant exceptions, to use any mod- ern, experimental stage, techniques. Experiment is the key word: here the Met has reneged its responsibility. The management claims it is satisfying its audiences. It points out that practically every performance is sold out. This may LEONARD1 BEBNSTEIN: should a conductor run the Mot? be true. But I wonder if it is not tho been brought up to believe that the opera responsibility of the most prestigious op- is a "must" social [unction. Being seen is era house in the world to attempt to far more important than seeing a per- develop the taste of its audience. . formance. Admittedly, the Mots' audience is a problem. Up to 85% of the tickets are For the casual opera-goer, the Met is a distributed to subscribers before the sea- difficult and expensive proposition. Tick- son opens. Subscriptions (and there is a ets are sold five weeks in advance, sell fifteen-year waiting list) cost' from $35.00 out almost immediately, and entitle the to $300. buyer to the least desirable seats in each price category. ; The subscriber is forced to place abso- lute faith in the management, which will The public is effectively shut out. A riot deign to tell him what operas he is private club is established for the grati- paying to see. According lo Met logic, it fication of tile management and the pa- then follows that our friend the subscrib- trons. And a sold-out, uncritical, house is er is going to he angry if his $14.50 buys guaranteed. a modern opera or a radically revised ap- But don't the performances justify the proach to the singing of a Wagner opera. faults of repertory and audience? No. And rather than anger him, the manage- The Met puts more emphasis on the per- ment chooses to give him a traditional formance ihiin on the opera being per- performance of a traditional opera. formed. It hires more "big name" inter- Thus, in the 19G5-GG season, twelve of national singers thiin any other company the twenty-five operas in the repertory in the world. And these "names" are were by two composers: Verdi and Puc- poorly used. cini. I wonder if any art form could sur- Most productions go on witli minimal vive on a constant diet of two artists. Hut rehearsal. The stage director may disap- KING: Should he bow out? MET LOBIIV: the rich and/or famous. the Mel seems bent on trying to accom- pear after the first performance. But his plish just that. production is used as long as the opera taining, but silly, period piece. cuts all sorts of artistic corners to <;i-' If there is one characteristic of the Met stays in the repertory — for fifteen or The Met orchestra, the most highly- there. A $750,000 production of Antony audience, it is boredom. Those in the or- twenty years. paid ill the world, usually sounds like a and Cleopatra is scrapped after ten per- chestra can be counted on to cough in- The management juggles the cast dur- provincial ensemble. Seven performances formances. Chorus rehearsal is cut to the cessantly, to talk during the perform- ing the season but denies more than pre- a week, and eight uninspired conductors bone; secondary casts go unrehearsed. ance, and to leave early. They are insuf- funclory rehearsal to new arrivals. The a season, leave them tired and disorgan- The loss is "compensated." ferably bored. Some of the natrons, prin- result of this cast changing—boast o£ the ized'. They seem immune to the disci- What is the result of such mismanage- cipally elderly men who were undoubted- company—is to undermine both ensemble pline of groat symphonies. ment? Experiment dies. ly dragged to Iho opera by their equally and acting. A singer lias often landed at Would this situation exist if the boss- When tile Willard Wagner production elderly wives, slip off to sleep for the en- Kennedy on Tuesday afternoon and gone man at the Met were a musician, say tire performance, I suppose it's better of Lohengrin was. introduced last season, on stage Wednesday night, without even Bernstein or Karajan? Tile Met, how- the artistic unity of opening night grad- they sleep than cough or talk. But so seeing the conductor or the members of ever, is unique among international com- many of them snore. ually, but totally, decayed through the the cast. panies. It; h run by a businessman, Ru- opera's eight performances. The critical One wonders why so many people sub- To cover these inadequacies, singers are dolf Bing. reaction was predictable. Faced with what ject themselves lo boredom. They have to. forced to employ the most rudimentary Nor do tho prospects look encouraging. they could not: understand, both critic- They are socialites, businessmen - the iiinleonth-contury acting devices. Tho The management is obsessed with a bal- 1 and audiences condemned a radically new whole Establishment crew. Thev have greatest opt ]"! becomes a slightly enter- anced budget, runs a huge deficit, and and sophisticated production. The mn.-t electrifying performance the Met has ;:h- on in five years was branded "static." The Mel lost faith in its product i".1 The orchestra became sloppy, 'flic !<-!M- unlearned all the s|-i:;o director had tau.:'i: him, and lapsed into slock gestures. Tii ehiii'us refused to st runt still for an 1MM: .mil L;:it down on the stae.e at will. V.'i-- I.iiid WafiiiT had hoped to i-eoonslruel (Invk (horns, liui the s(|iiinniii'; I'IHI "IT boy,, of tIn- i'iii'1 wore unable to coinni1-1!.' it - -, elfeelivi b, mi the aotioti of the prilioii' '1 -I, u. * . Illiw I'll! Ill' ; .:illlalinll In' n-IIH'lll'--i ! ?»". lir-l. the :\i, i buiild bo lalu u out " '>'• h 'ink, ill tho .:ueiahli-; and busine-n1' mil pill nnile!' the ilin olioii of in arii-l .-•^•eoilil il 'ili'illlil Mili.pl liritish !'|i- >li ui inn in 'thud-.. In l.oiidon, a perioi- " auoo ':• n ill .11 .oil and I'.ivi-n sis or ' I"'1' li.-uo ' iii a limo uoi-l; period l.o-.s i'|'"! ; would bo I >•-<•< (> ••'•-• 1. lull il would be belli1- ' - i- i i . _ Tbinl, I ])•• Mel -.llould ln-< n'1'1 ' t i'-mlonl nl i! it.-i n.it inii-il -dais, 'ind i>!"-" r- III I ale "PI bllililino. ,1 Wortlnvllile IV--' \ i'" 'I -\ I = if •"• f I • 11. III. ' lo ni'ilil ':K-o a ,! i:"o iliroebir, and |.;v-i!- lll'll I" ..njri o| With M"-.porl. Up- .liillifvlnu :iu'r;' I'll (II '.II Dec. 12, 1967 • THE FORDHAM RAM • Pago EDUCATION THROUGH TRAVEL, INC. — PRESENTS— McCann McGlennon (Continued from Page 1) (Continued from Page I) "it is obscene to make war for "Most people have never mi>t internal economic stability," and a live Communist, although s,)ra, MIAMI BEACH scored the neglect of sorely of you may think you are nwu inp: one right now," he said needed domestic j)rograms bc- as the audience erupted in laughter. eause of the war. XMAS "We have a basic fear of Com. With regard to opposition to mimism, that it is a throat to • OR • the war, he blamed the rowdy national security." character of recent demonstra- Scheer, managing editor of the radical monthly, visited Cuba in INTERSESSION tions on the fact that normal 1950 and Egypt and Israel after1 channels have been blocked by the six-day war between those At the economic and political power countries last June. 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Langheld Leads with 28
