Newspaper Page Text
PAGE e-January 27,1972
1 Film Classifications
A -
A -
A -
A -
B -
Section I — Morally Unobjectionable for General Patronage
Section II — Morally Unobjectionable for Adults Adolescents
Section III — Morally Unobjectionable for Adults
Section IV — Morally Unobjectionable for Adults, Reservations
Morally Objectionable in Part for All
C — Condemned
THE BOYFRIEND (MGM)
Twiggy -- all 90 pounds of her -- is
an engaging ingenue in Ken
Russell's brightly colored musical
in the style of a Thirties backstage
romance.
Ironically, what might well
start a whole new cycle of
American movie musicals is the
current English production of
THE BOY FRIEND. The
property was a highly successful
English stage musical about the
Twenties written by Sandy Wilson
some fifteen years ago. It was a
pleasant, gregarious type of show
where everything depended upon
the song and dance routines. The
story was the traditional romance
of mindless misunderstandings
which are finally cleared up so
that girl gets boy at the finale.
The film version goes way
beyond this. Ken Russell, who
both directed and wrote the
screenplay, had the genius to turn
this material into a Warner
Brothers backstage musical of the
Thirties. The story is now about a
troupe of actors who are putting
on a stage show, THE BOY
FRIEND, with the knowledge
that among the sparse audience is
a Hollywood producer of talking
pictures. There is even the classic
bit from 42nd STREET about the
Little Miss Nobody who takes
over the stars part because the
leading lady has broken her ankle.
As played by Twiggy and Glenda
Jackson, respectively, the device
works marvelously on its own.
In choosing this backstage
story, Russell has the freedom to
introduce any kind of musical
material he wants. He does this
through the minds of various
characters in the film who
imagine the kind of production
numbers they would like to see
being done on the stage. And
Russell takes advantage of this
opportunity to show us examples
of all kinds of musicals styles,
ranging from English music hall to
Fred Astaire. (A-l)
A CLOCKWORK ORANGE
(Warner Bros.) Stanley Kubrick
(DR. STRANGELOVE; 2001, A
SPACE ODYSSEY) has
manufactured a shocking,
complex, futuristic film version of
the Anthony Burgess novel
concerning free will and control
by the State.
With unruly packs of
“Skinhead” toughs already
roaming the streets of London
looking for a spot of “bovver,” it
is easy to recognize that the
futuristic nightmare of A
CLOCKWORK ORANGE is
almost as realistic as it is fantastic.
The urban scene of Anthony
Burgess’ 1962 novel is ruled by
day by the forces of law and
order, and by punk teenagers like
Alex, the central character, and
his pals by night. Alex and his
droogs (or friends in the
Russo-slang argot they speak)
have a nifty routine they like to
follow of an evening. First there’s
a stop at the Korova Milkbar for a
glass or two, not of suds but of
“the old moioko-plus” - milk
spiked with a bit of
amphetamines, etc. Then it’s out
into the dark street for a touch of
the “old ultraviolence” - a
gang-rape or two, a joyride, a
beating here or there. Finally,
after expending all of that energy,
a growing boy - Alex in the book
is a mere fifteen - needs some
soothing classical music to lull
him into a good night’s sleep of
nice nasty dreams.
The world of Burgess’ novel is
one of extremes -- of nighttime
mayhem versus mindlessly
tranquil, music-filled days for
Alex, who is particularly fond of
“Old Ludwig van”; of iron
control by the state versus the
anarchy of those who would
overthrow it. (C)
LE BOUCHER (Cinerama)
French director Claude Chabrol
has made a mark as a director of
eerie and realistic murder
mysteries. His new film is perhaps
his best yet, and it carried one
along much the way Hitchcock’s
PSYCHO did a few years back.
Chabrol's film, in relating the
growing horror of a little French
village beset by a series of bizarre
murders, goes beyond the usual
mystery by getting us involved
with both the killer and one of his
intended victims, and by showing
that they are really quite ordinary
people --just like everyone else, in
fact. Chabrol’s script is tight and
controlled, and as a result his
camera never fails to draw our
attention to the telling of details
that set our nerves on edge. The
acting is likewise superb,
especially by Stephanie Audran
(the director's wife) as the local
schoolmistress, and Jean Yanne as
the village butcher. Try it for a
fine night of adult fare. (A-l11)
STRAW DOGS (Cinerama)
Sam Peckinpah has left his mark,
too, as an explorer of the dark
violence that perhaps lurks deep
inside every man. STRAW DOGS
(the title referring to a Chinese
expression for objects of ritual
sacrifice) presents an introverted
American mathematician (Dustin
Hoffman) taking a sabbatical and
writing a book in a small, clammy
English village. The little town is
also the birthplace of his
impossibly sensual wife (Susan
George) and her presence among
old suitors generates a series of
smoldering fires that finally erupt
in a gang rape and, later, a bloody
seige of the couple's house. The
question is not whether Hoffman
the gentle genius will turn toward
violence but, rather, how much
provocation he’ll take before he
does. By our count, it took him
100 minutes to begin cinema's
bloodiest 10-minute finale.
STRAW DOGS winds up
wallowing deeply in the violence
it ostensibly criticizes. (C)
THE GARDEN OF THE
FINZI-CONTINIS (Cinema 5)
concerns the deadly effects of
official Fascist anti-Semitism on
the Jewish community of a small
Italian city. Because it also
contains a love story within the
ghetto, the film is a curiously
absorbing mixture of poignance
and doom. With Lino Gapoliccio
as a student son of a bourgeoise
Jewish merchant, and Dominique
Sanda as the beautiful but cold
daughter of the aristocratic
Finzi-Contini family, Vittorio De
Sica has the help of a superb cast.
His movie is not without a
weakening sentimentality, but it
is mainly right in line with his
own earlier efforts to picture
people striving to maintain their
dignity under inhuman pressures.
(A-l II)
MACBETH (Columbia)
Director Roman Polanski,
working with a script adapted by
himself and Kenneth Tynan, has
made a fierce, open, and very
violent film of tragedy often
called Shakespeare's most bloody.
With surprising faithfulness to the
original drama. Polanski has
nonetheless managed to introduce
a form of cinemantic realism that
is almost unheard of in films
based on Shakespeare’s plays.
Only in the recent KING LEAR,
for example, has the out-of-doors
played such a powerful role in
setting mood and atmosphere.
Yet Polanski doubtless goes too
far with his realism - whatwith
the burial of grisly severed arms,
graphic murders, and, in the final
scene, Macbeth’s own head
bouncing around on the
courtyard bricks. Another novelty
is the use of young people - Jon
Finch and Francesca Annis — as
Macbeth and his evil Lady. This is
an interesting twist, but the two
do seem out of place and cannot
quite carry the burden of their
roles. There is also the
unnecessary rendering of Lady
Macbeth’s sleepwalking scene as a
nude romp, which is not offensive
so much as it is silly and puerile.
This Macbeth is one that will
excite and disappoint at the same
time. The best scene, one which is
custom-made for the movies, is
when Burnam Wood comes to
Dunsinane, as the hags
prophesied. (A-VI)
MINNIE AND MOSKOWITZ
(Universal) As in FACES, John
Cassavetes lets his cameras focus
in tight on people whom fate
throws together, letting them
grate against each other for a
while to see what sparks fly, what
flames catch on. This time, the
principals are Minnie (Gena
Rowlands, Mrs. Cassavetes in real
life), a beautiful but near-defeated
woman on the mend from a cruel
affair, and Moskowitz (Seymour
Cassel), a genial Los Angeles
carhop who one day rescues her
from a brutal blind date. Without
knowing exactly why, but
knowing that it’s pretty crazy, the
two fall in love, if that's what
those shouting matches can be
called. The nicest touch, but the
one that will upset devoted
Cassavetes cultists most, is a
flashforward to a happy, fecund
marriage. (A-l11)
SUCH GOOD FRIENDS
(Paramount) is another of
director Otto Preminger’s
successful attempts to make a
sow’s ear from a silk purse, the
latter in this case being Lois
Gould’s sly, biting, and
semi-autobiographical novel about
New York’s nasty cocktail-party
crowd. The plot finds a wife
(Dyan Cannon) discovering that
little black book whilst
rummaging around through her
hospitalized husband’s insurance
papers. As hubby’s physical
condition deteriorates -- he goes
from a minor operation to a fatal
comma - the wife undergoes a
moral and emotional collapse
involving several “close” family
friends. The Preminger touch, as
usual, is very heavy — as if such
seamy material needed it. (C)
RECENT
CLASSIFICATIONS
Who Slew Auntie Roo? (AIP) -
All
Soul Soldier (Fanfare) -- B
Dynamite Chicken (EYR
Productions) - C
Glass Houses (Columbia) — C
2 STATES §
trifles
nr!
CONFERENCE
MOVIE LIST
A SERVICE OF THE DIVISION FOR FILM AND BROADCASTING U.S.C.C.
405 LEXINGTON AVENUE, NEW YORK, N. Y. 10017 (212) TN 7-8460
Films treated in review or capsule form in the Catholic Film Newsletter are followed by the appropriate reference to volume and issue number.
CLASS A — Section I — Morally Unobjectionable for General Patronage
African Elephant, The—Natl. Gen. 36:20
Bedknobs and Broomsticks
—Walt Disney/B.V. 36:2
Black Beauty—Para. 36:21
Boyfriend, The -MGM 37:1
Cameraman, The—Films Inc. 36:1
Clowns, The—Levitt-Pickman 36:11
Elephant Called Slowly, An—Continental 36:9
Escape From the Planet of .he Apes—Fox 36:11
Fantasia—Buena Vista 35:1
Fiddler on the Roof—l'.A. 36:22
Flight of the Doves—Col. 36:7
Giant—W.B. 35:21
Godzilla's Revenge—Maron 36:23
How To Frame a Figg—Univ. 36:6
Kingdom in the Clouds—Xerox Films 36:18
Lady and the Tramp—Walt Disney/B.V. 36:23
CLASS A — Section II
Adios, Sabata—l .A. 36:14
Andromeda Strain. The—Univ. 36:4
Battle of El Alamein. I'he -Plaza 36:20
Battle of Neretva—AIP 36:2
Blue Water. White Death—Natl. Gen. 36:10
Bus Is Coming. Tht—Wm. Thompson 36:23
Devil Doll—MGM 36:4
Equinox—V IP Dist. 36:1
Fragment of Fear—Col. 36:4
Freaks—Brenner 36:4
Gone With The Wind—MGM 32:25
Hellstrom Chronicle—Cinema 5 36:14
Hoa-Binh—Trunsvue 36:16
Lt* Mans—Natl. Gen. 36:13
Lupo—Cannon 36:2
Modern Times—Leisure Media, Inc. 36:23
Magic of the Kite. The—Xerox 36:4
On Anv Sunday—Cinema 5 36:15
$1,000,000 Duck, The—Walt Disney-B.V. 36:13
Peter Rabbit and Tales of Beatrix Potter
—MGM 36:13
Raga—Apple Films 36:23
Railway Children. The—l niv. 36:21
Report From China—Radim 36:10
Run the Wild River—Jack Currey Prod. 36:12
Savage Wild. The—Amer. Inti. 35:6
Scandalous John—Walt Disney-B.V. 36:12
Shinbone Alley—A.A. 36:8
Socrates—New Yorker Films 36:23
Soul to Soul—Cinerama 36:17
Spite Marriage—Films, Inc. 36:2
Superargo and the Faceless Giants—Fanfare 36:9
Tokoloshe—Artists Inti., Ltd. 36:20
Tora! Tora! Tora!—Fox 35:18
Tsar To Lenin—Herman Axelbank 36:18
War Between the Planets—Fanfare 36:9
When Dinosaurs Ruled the Earth—W.B. 36:4
Who Says I Can’t Ride a Rainbow
—Transvue 36:23
Wild Country, The—Walt Disney/B.V. 36:3
Willy Wonka and the Chocolate Factory
—Para. 36:11
Wishing Machine, The—Xerox 35:24
World of Hans Christian Andersen, The
—U.A. 36:7
Yog, Monster from Space—AIP 36:16
Zeppelin—W.B. 36:7
Morally Unobjectionable for Adults and Adolescents
Pacific Vibrations—AIP 36:10
Patton—Fox 35:2
Ramparts of Clay—Cinema 5 36:2
Return of Count Yorga—AIP 36:17
Star Spangled Girl—Para 37:1
Support Your Local Gunfighter—U.A. 36:10
Thermidor—Altura 36:17
House That Dripped Blood, The—Cinerama 36:8
Joe Hill—Para. 36:21
Kidnapped—AIP 37:1
King Lear—Altura 36:23
Lawrence of Arabia—Qol. 36:6
Lost Flight—Univ. 36:9
Melody -Amer. Cont. 36:4
Mrs. Pollifax—Spy—U.A. 36:6
Mary, Queen of Scots—Univ. 36:24
Nicholas and Alexandra—Col. 36:24
One Day in the Life of Ivan Denisovich
—Cinerama 36: lp
Von Richthofen and Brown—U.A. 36:12
Waterloo—Para. 36:7
Willard—Cinerama 36:12
Wings—Para. 36:18
Wuthering Heights—AIP 36:1
CLASS A — Section III — Morally Unobjectionable for Adults
Abominable Dr. Phibes, The—AIP 36:11
Airport—Univ. 35:3
All the Right Noises—Fox 36:22
And Soon the Darkness—Levitt-Pickman 36:8
Anonymous Venetian. The—A.A. 36:17
B. J. Lang Presents—Fine 37:1
Bear and the Doll, The—Para. 36:20
Beast in the Cellar, The—Cannon 36:9
Bed and Board—Col. 36:2
Big Jake—Nat). Gen. 36:11
Black Jesus—Plaza 36:17
Black Peter—Altura 36:15
Bless The Beasts and’Children—Col. 36:14
Le Boucher—Cinerama 37:1
Brief Season—Col. 36:9
Brother John—Col. 36:7
Brotherhood of Satan—Col. 36:9
Runnv O'Hare—AIP 36:13
Captain Apache-Scotia Inti. 36:19
Cat low MGM 36:21
Cauldron of Blood—Cannon 36:22
Celebration at Big Sur—Fox 36:8
Chandler—MGM 36:24
Chrome and Hot Leather—AIP 36:18
Claire's Knee Col. 36:5
Cold Turkey U.A. 36:3
I.a Collectionneuse—Pathe Cont. 36:9
Creatures the World Forgot—Col. 36:12
Crook. The—U.A. 36:5
Crucible of Horror—Cannon 36:22
Cry Blood. Apache—Golden Eagle 36:10
Death in Venice—Warners 36:12
Debut. The Gemini-Maron 36:20
Derby—Cinerama 36:8
Detective Belli—Plaza 36:1
Diamonds are Forever—U.A. 36:24
I)irtv "Outlaws—Transvue 37:1
Doc—l .A. 36:1 .a
Eagle in a Cage—Natl. Gen. 36:17
Eve I Knievel- Fanfare 36:13
Une Femme Douce—New Yorker 36:11
Figures in a Landscape—Natl. Gen. 36:15
Fools' Parade Col. 36:10
Gang That Couldn't Shoot Straight. The
-MGM 37:1
Carden of Delights—Altura 36:4
CLASS A — Section IV
(An A-IV Classification is given to certain films i
as a protection to the uninformed against wrong
Adrift MPO 36:15
Anderson Tapes. The-Col. 36:11
Beguiled. The—Univ. 36:7
Carnal Knowledge- Avco Emb. 36:14
Conformist. Tin—Para. 36:6
Cop. The Audubon 36:11
Desp.-rale Characters ITC 36:19
Dusts and Sweets McGee—W.B. 36:14
El Topo Abkco 36:22
French Connection. The Fox 36:20
Funny man _ New Yorker Films 36:20
Investigation of a Citizen Above Suspicion
—Col. 36:1
Garden of the Finzi—Continis-Cinema 5 37:1
Go-Between, The -Col. 36:14
Going Home -MGM 36:23
Gunfight, A—Para. 36:10
Hard Ride—AIP 36:6
Harold and Maude—Para. 36:24
Hired Hand. The—Univ. 36:13
Horror of the Blood Monsters
—Independent Inti. 36:6
Horror of Frankenstein—Amer. Cont. 36:14
Horsemen. The—Col. 36:13
Hospital. The—U.A. 36:23
I Eat Your Skin—-Cinemation 36:5
Incredible Two-Headed Transplant—AIP 36:7
It Only Happens to Others--GSF Films 36:20
Island of the Burning Damned—Maron 36:23
Jennifer On My Mind—U.A. 36:19
Kotch -Cinerama 36:19
Last Rebel. The—Col. 36:15
Last Run. Tin—MGM 36:14
Last Valiev. The—Cinerama 36:3
Lawman—l .A. 36:12
Let's Scare Jessica to Death—Para. 36:17
Lola—AIP 36:6
Long Ago. Tomorrow—Cinema 5 36:19
Live Storv—Para. 35:24
Macbeth-Columbia 37:1
Mad Dogs and Englishmen—MGM 36:7
Made for Each Other—Fox 36:24
Madron- -t Star Excelsior 36:10
Man in the Wilderness—W.B. 36:23
Man Who Haunted Himself. The
Ij vilt-Pickman 36:18
Man With Connections. The—Col. 36:1
Medea—New Line Cinema 36:22
Mephisto Waltz—Fox 36:8
Minimise New Yorker Films 36:20
Minnie and Moscowitz—Univ. 37:1
Murders in The Rue Morgue—AIP 36:14
Murphv's W ar—Para 36:11
New Leaf. A—Para. 36:6
Night of Dark Shadows—MGM 36:17
Night Visitor. The- UMC 36:3
No Drums. No Bugles—Cinerama 36:16
Organization. The l .A. 36:20
Omega Man. The—W.B. 36:16
One More Train to Rob—Univ. 36:11
Panic in Needle Park, The—Fox 36:12
Pigeons—Plaza 36:4
Plaza Suite—Para. 36:9
Projectionist. The—Maron 36:3
Promise at Dawn—Avco Emb. 35:24
Raid or) Rommel—Univ. 36:3
Red Sky at Morning—Univ. 36:8
Red Tent, The—Para. 36:15
Reincarnate. The—Tower Prod. 36:21
Ryan's Daughter—MGM 35:23
Sacco & Vanzetti—UMC 36:20
Safe Place. A—Col. 36:20
Saturday .Morning—Col. 36:3
Scars of Dracula—Amer. Cont. 36:14
See No Evil—Col. 36:16
Shaft—MGM 36:12
Skin Game—W.B. 36:18
Some Girls Do—U.A. 36:6
Someone Behind the Door—GSF Films 36:24
Something Big—Natl. Gen. 36:20
Sudden Terror—Natl. Gen. 36:3
Summertree—Col. 36:8
Tam Lin—AIP 36:22
10 Rillington Place—Col. 36:8
They Call Me Trinity—Avco Emb. 36:12
They Might Be Giants—Univ. 36:7
Three Lives—Impact Films 36:23
Today We Kill . . . Tomorrow We Die
—Cinerama 36:15
T. R. Baskin—Para. 36:21
Trojan Women. The—Cinerama 36:19
Two-Lane Blacktop—Univ. 36:12
Unman. Wittering and Zigo—Para. 36:12
Valdez Is Coming—U.A. 36:7
Wanda—Bardene Inti. 36:5
What's the Matter with Helen?—U.A. 36:12
When Eight Bells Toll—Cinerama 36:11
Who Is Harry Kellerman and Why is He
Saving Those Terrible Things About Me?
—Natl. Gen. 36:12
Who Killed Marv W hats'ername—Cannon 36:23
Wild Rovers—MGM 36:13
Witchmaker—Excelsior 36:15
Young Couple. A—Trans W orld 36:20
Zachariah—Cinerama 36:2
— Morally Unobjectionable for Adults, with Reservations
• hich. while not morally offensive in themseh
interpretations anti false conclusions. >
J.C. -Avco Emb. 36:17
Johnny Got His Gun—Cinemation 36:16
Klute W arners 36:13
Little Murders Fox 36:2
Make \ Face Karen Sperling Prod. 36:18
Medicine Ball Caravan. The—W.B. 36:17
Music Lovers. The U.A. 36:3
Night Digger. The—MGM 36:11
Nun. The Altura 36:13
Outback -U.A. 36:14
Pla\ Mistv For Me- -Univ. 36:18
Priest's Wife. The—W.B. 36:5
Punishment Park -Chartwell 36:22
equire caution and some analysis and explanation
Pursuit of Happiness. The—Col. 36:4
Right On!—Concept East 36:9
Roommates—Pantages 36:5
Severed Head. A—Col. 36:4
Skezag—Soho 36:9
Sometimes a Great Notion—Univ. 36:24
Summer of *42—W.B. 36:8
Sunday Bloody Sunday—U.A. 36:19
Taking Off—Univ. 36:7
TUX 1138—W.B. 36:6
Touch. The—Cinerama 36:15
Vladimir and Rosa—Grove 36:10
W alkabout—Fox 36:12
Alex in Wonderland—MGM 36:1
Been Down S. Long It Looks Like l p to Me
Para. 36:18
Believe in Me MGM 36:18
Big Doll House. The—New World
Billy Jack -W arners 36:10
Blood and Lace—AIP 36:6
Blood on Satan's Claw. The—Cannon 36:9
Bodv. I he -MGM 36:5
Bodv Beneath. The- Nova Inti. 36:3
Born To Win l .A. 36:21
Buttercup Chain. The—Col. 36:6
Cat OWino Tails. The—Natl. Gen. 36:10
Christian Licorice Store. The
—Natl. Gen. 36:24
Cisco Pike -Col. 36:20
Clay Pigeon MGM 36:18
Daughters of Darkness—Gemini/Maron 36:11
Dead of Summer—Plaza 36:6
Deep End—Para. 36:13
B. S. I Love You—Fox 36:3
Bananas—U.A. 36:9
Beyond Control—Mishkin 36:12
Beyond Love and Evil—A.A. 36:6
Blood Mania—Crown Inti. 36:23
Brazen Women of Balzac. The—Globe 36:15
Butterfly. The--Audubon 36:23
Christa—AIP 36:16
Cindy and Donna -Crown Inti. 36:12
Clockwork Orange. A—Warners 37:1
Cometogether—A A 36:20
Cry l ncle!—Cambist 36:17
Dagmar's Hot Pants. Inc.—Trans. Amer.
—AIP 36:20
Decameron—U.A. 36:23
Devil Rider—Goldstone 36:10
Devils. The—W .B. 36:14
Dirty Harry—W.B. 36:24
Dr. Frankenstein on Campus—Medford 36:1
Drive. He Said—Col. 36:12
Dorian Gray—AIP 36:1
From Ear to Ear—Cinemation 36:2
Get Carter—MGM 36:3
Ginger—Joseph Brenner 36:8
Grimm’s Fairy Tales for Adults
—Cinemation 36:7
Guess W hat W e Learned in School Today?
—Cannon 36:11
CLASS B — Morally Objectionable in Part for All
Deserter. The—Para. 36:7
Dirtvmouth -Superior 36:11
Doctors' Wives—Col. 36:2
S i Dollars)—Col. 36:24
Five Bloodv Graves--Independent lntl. 36:6
Fortune and Men's Eyes MGM 36:12
Friends—Para. 36:7
Glen and Banda l MG Pictures 36:19
Grissom (Ling. The—Cinerama 36:11
Guru, the Mad Monk -Nova Inti. 36:3
Happy Birthday. Wanda June—Col. 36:24
Hell s Bloody De\ils -Imlep. Inti. 36:2
llonky —1 larris 37:1
House That Screamed. The—AIP 36:15
I Drink Your Blood Cinemation 36:5
| I,,ve Mv W if -Univ. 36:1
Light at The Edge of the W orld—
Natl. Gen. 36:14
l.o\e Machine. The—Col. 36:15
l.u-t for a \ umpire Levitt-Pickman 36:18
CLASS C — Condemned
Historv of the Blue Movie, A
-Alex de Rcnzy 35:22
Hollywood Blue -Sherpix 36:3
Hot Pant- Holiday Avco Emb. 36:21
Hunting Party. The—U.A. 36:11
G I ll- re Sex After Death Abol-Child Prod.
Johnnv Minotaur—Impact 36:9
Kama Sutra AIP 36:4
Language of Love—Paragon 36:15
La-t Movie. The l niv. 36:19
La-t Picture Show. Thy—Col. 36:19
l izard in a Woman*- Skin AIP 36:20
l.ove Clinic. The- -Compix 36:15
Love Doctors. The—UFI 36:1
Love Object. The—Jos. Bn nner 36:12
Muddalena—Inti. Co-Prods. 36:23
Maid in Sweden—Cannon 36:22
Maid-tone -supreme Mix 36:21
Making It -Fox 36:7
Murmur of the Heart -W alter Read.- 36:21
Mvra Breekinridgi—Fox 35:13
My Secret Life—Jack Harris 36:9
Nana—Distinction (Natl. Gen.) 36:9
Next! -Gemini-Maron 36:16
1000 Convict* and a Woman—AIP 36:22
Peace Killer-. The Tran-vue 36:20
Percy—MGM 36:10
Pink Narcissus—Sherpix 36:11
Point of Terror—Crown Inti. 36:23
McCahe and Mrs. Miller -W.B. 36:11
Man Called Sledge. A—Col. 36:3
Margo—Cannon 36:8
Marriage of a Young Stockbroker—Fox 36:17
My Old Man's Place—Cinerama 36:13
formerly “Glorv Boy"
One Night at Dinner—lntl. Co-Prods. 36:22
Rabbit. Run—W.B. 36:3
Romance of a llorsethief—A.A. 36:16
Say Hello to Yesterday—Cinerama 36;1
Shootout—Univ. 36:11
Steagle. The—Avco Emb. 36:18
Tender Moment. The—Maron 36:6
Todd Killings—Natl. Gen. 36:17
Town Called Hell. A Scotia lntl. 36:19
Toy Crabbers. The—Richard Organ. 36:11
Vanishing Point—Fox 36:7
W elcome to The Club—Col. 36:17
Villain MGM 36:11
Pretty Maids All in a Row—MGM 36:8
P-yehout for Murder—Times 36:3
Red. White and Blue—Aquarius 36:11
Relation—l ambi-t 36:4
Road to Salina—Avco Emb. 36:1
N-ducer—Cinemation 36:2
Satan's Saili-t*—lmh-p. Inti. 36:2
Scavengers The—Rep. Amu-ement Corp. 36:21
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Straw Dogs—Cinerama 37:1 ,
Such (’rood Friends—Para. 37:1
Sweet Saviour—Trans W orld 36:18
Sweet Swoetback’s Baadassss Song
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Telephone Book. The -Rosebud 36:19
Together—Hallmark 36:18
Touch Me—Fortune 36:16
200 Motels—U.A. 36:22
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W omen In Cage' New World 36:21
W R—My steries of the Organism
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AN NC ANALYSIS
Harrisburg Trial Opens x
Historic Legal Chapter
BY ERNEST OSTRO
HARRISBURGH, Pa. (NC)
— The trial that opened here
Jan. 24 with a tedious process
of jury selection has all the
ingredients of an historic legal
process.
Six Catholics - including
three priests, an ex-priest and
his wife, and a nun - and a
Moslem professor are charged
with conspiring to kidnap
presidential assistant Henry
Kissinger, to explode heating
systems under federal
buildings, and to destroy an
assortment of draft records in
Pennsylvania, Delaware and
New York.
One of the priests -
Josephite Father Philip
Berrigan, already imprisoned
for destroying draft records
at Catonsville, Md., in 1968 -
the nun, and the Moslem are
also charged with smuggling
letters into and out of
Lewisburg, Pa., federal
penitentiary.
All defendants have denied
the conspiracy charges, but
several have admitted taking
part in raids on draft boards
in Philadelphia, Delaware and
Rochester, N.Y. But they are
not charged with these
offenses - only with
conspiracy to commit them.
The defense has not denied
that Father Berrigan, Sister
Elizabeth McAlister, and
Eqbal Almad discussed
kidnapping Kissinger and
demolishing heating systems.
But they deny flatly that
discussions constituted
conspiracy by any reasonable
definition of that rather
vague charge.
An impressive array of
attorneys are defending the
case. Father Berrigan’s chief
counsel is Ramsey Clark, who
was attorney general of the
United States when Father
Berrigan, his brother, Jesuit
Father Daniel Berrigan, and
seven other Catholics were
prosecuted at Catonsville. For
the first time in anyone’s
memory, a former attorney
general responsible for
imprisoning a defendant is
confronting the incumbent
attorney general, John
Mitchell, in a new
prosecution.
The government has been
very tight-lipped about the
case; the defense counsel are
under court orders not to
discuss government witnesses
with the press.
But defense lawyers feel
that the government’s
approach is a carefully
calculated plan to discredit
and silence leaders of the
Catholic peace movement in
this country, most especially
Father Philip Berrigan.
The most substantial
evidence that has so far come
to light is that of smuggling
letters in and out of the
prison, an offense that carries
a maximum of ten years on
each count. Normally,
smuggling letters and other
contraband in or out of a
prison, although a violation
of the law. is not nrosecuted.
“The government would look
foolish putting Father
Berrigan on trial on such a
mundane charge,” one
attorney noted.
But coming at the tail end
of dramatic conspiracy
counts, the attorney
continued, a smuggling
convict would be more likely
even if the defendants are
acquitted of the conspiracy
counts. “The idea is to put
Father Berrigan away for a
long, long time,” he added.
The defense claims that the
smuggling was initiated and
furthered by the government
itself, in the person of its
agent provocateur, and will
demand acquital for that
reason alone. The defense
also asserts that prosectuion
for smuggling would be
blatantly discriminatory,
there are no precedents.
Jury selection is considered
all-important by the defense
because they do not feel
Harrisburg is the most
congenial climate in which to
try the case. The first of the
government’s 85 witnesses is
not likely to take the stand
until the first week in
February.
From then on, the trial will*^*^ /
see some of the most
formidable legal talent in the
U.S. in an epic struggle that
could determine the whole
future of the U. S. peace \
movement - especially of its / |
Catholic leadership - and
which could be a significant
factor in the elections later
this year.
FREE-WHEELING PRIEST: The Rev. Leo Farragher, of St. Joseph’s Church in Wilmington, Del.,'
zips through city traffic on his daily rounds to hospitals and members of his parish. Better known
simply as “Father Leo”, he uses the bicycle not only for its convenience but because “more people
see me and are aware of the Church.” He uses the bike in warm and cold weather and says only
deep snow stops him. (NC PHOTO)
V.D. RATE CLIMBS
Francis Xavier Gallagher,
attorney for Baltimore’s
Cardinal Lawrence Shehan,
represents Father Joseph
Wenderoth. The cardinal has
personally stood bail for
Father Wenderoth and for
another of the defendants,
Father Neil McLaughlin, also
of Baltimore.
Paul O’Dwyer, former
Democratic candidate for
governor of New York;
Leonard Boudin, a noted civil
rights lawyer also defending
Daniel Ellsberg, who leaked
the Pentagon Papers; and
Father William Cunningham,
S. J., one of the country’s
leading canon lawyers, are
among the others appearing
for the defense in the
Harrisburg case.
Defense lawyers feel that
the conspiracy charges are a
hodge-podge of unrelated
allegations thrown together
to confuse the issues. They
assert that the whole case,
which came to light first in
November, 1970, when FBI
chief, J. Edgar Hoover,
named both Berrigans as
leaders of a conspiracy to
kidnap Kissinger and blow up
the federal heating plants,
was propelled by a
government agent
provocateur who was also a
convict at Lewisburg. They
further charge that the affair
has been carried along by a
series of highly irregular
grand jury proceedings that
have resulted in two
indictments.
The first one, in January,
1971, named Father Daniel
Berrigan as a co-conspirator,
but not as a defendant; the
superseding one, handed
down last April, excludes
Father Daniel altogether -
but introduces the assorted
allegations about assaults on
draft boards.
‘Pills Do More Harm Than Thalidomide’
LONDON (NC) - A
leading authority on venereal
disease claims that oral
contraceptives have done
more harm than thalidomide
- a tranquilizing medicine
given to pregnant women that
resulted in malformed babies.
Dr. R.S. Morton, a World
T.V. Movies
SUNDAY, JANUARY 30, 7:30
p.m. (CBS) THE CBS SUNDAY
NIGHT MOVIES - Program title
unavailable at press time; check
local listings.
9:00 p.m. (ABC) - WHERE
EAGLES DARE (1969) (Part I;
Part II will be presented Monday
Evening, January 31 — A
spy-counter-spy melodrama set in
the Bavarian Alps during World
War II, Eagles pits Richard
Burton, Clint Eastwood and Mary
Ure against what must be half the
German army ensconced in a
castle literally inaccessible except
by cable car. The purpose of the
mission comes clear only
gradually (and undoubtedly for
some viewers, not at all): the
discovery of the names of the
agents who have infiltrated the
British Intelligence Service.
Alistair MacLean wrote the script
(and later the novel) and Brian
Hutton directs this interminable,
totally implausible series of
killings, escapes and pyrotechnic
displays. (A-l 11)
MONDAY, JANUARY 31,
9:00 p.m. (ABC) - WHERE
EAGLES DARE, Part II - (See
description for Sunday, Jan. 30
above)
9:00 p.m. (NBC) - DEADLIER
THAN THE MALE (1967) - A
Bulldog Drummond adventure,
starring Richard Johnson, Elke
Sommer, and Sylvia Koscina.
Bulldog sniffs out the trail of
pretty pair of female assassins
who specialize in snuffing out key
executives involved in a set of
business mergers. Treatment
amounts to a dim-witted serving
of frothy sex-cumviolence, a very
distasteful dish indeed. (B)
TUESDAY, FEBRUARY 1,
8:30 p.m. (ABC) -- HARDCASE -
Original 90-minute TV feature,
paced cleverly to accommodate a
number of commercial breaks.
Other than that, the most
outstanding attraction is
mammoth Clint Walker, who
plays a turn-of-the century solider
of fortune come home to Texas
to a strange, disorienting situation
-- his wife (Stephanie Powers) has
run off with a Mexican bandito
(Pedro Armendariz, Jr.), and his
ranch has been sold out from
under him. From this point, it’s
up to him.
THURSDAY, FEBRUARY 23,
9:00 p.m. (CBS) - THE CBS
THURSDAY NIGHT MOVIES -
Program title unavailable at press
time, check local listings.
FRIDAY, FEBRUARY 24,
9:00 p.m. (CBS) - THE CBS
FRIDAY NIGHT MOVIES
Ditto.
SATURDAY, FEBRUARY 25,
8:00 p.m. (NBC) - WHERE
WERE YOU WHEN THE
LIGHTS WENT OUT? (1968) -
The incredible power failure that
darkened the East Coast three
years ago could easily have
furnished enough material for a
great comedy. In the case at hand,
however, it serves only as
background interest for what is
essentially a typical routine Doris
Day vehicle revolving around a
woman's honor seemingly
compromised but as always
untarnished in the final reel. The
film offered an opportunity to
spoof this sort of thing (Miss Day
plays an actress appearing in a
play called the Constant Virgin)
but it unfortunately refused to
tamper with a proven formula.
Robert Morse takes comedy
honors as an embezzler caught in
the contrived circumstances of
the plot and Terry Thomas has
some fun as a conniving
Hungarian producer. The film was
adapted from a play by Claude
Magnier and Hy Averback’s
direction succeeds in injecting
intermittent entertainment in the
proceedings especially scenes of
New York during the Great
Blackout. (A-lII)
8:30 p.m. (ABC) - WHEN
MICHAEL CALLS -- Original
90-minute TV melodrama with
Elizabeth Ashley cast as a woman
terrorized by a mysterious set of
phone calls from - gasp! -- a child
long since dead. Ben Gazzara and
Michael Douglas help in the
haunting story.
Health Organization
consultant, wrote in a new
book -- “Social Freedom and
Venereal Disease” - that the
birth control pill for the
single girl must stand
condemned.
“The accumulation of
cases of long-term individual *
misery and venereal disease as
a direct result of its use is
more calamitous than
anything precipitated by the
thalidomide,” he said.
Pill-prescribing for the
single girls as a means of
reducing illegitimacy in
Britain has so far been a
conspicuous failure,
according to Dr. Morton.
It might even have
contributed to the very trend
it was designed to reverse by,
in effect, officially
sanctioning premarital
intercourse, he added.
If babies born in the first
seven months of marriage
were added to the list of
illegitimates, there were
144,337 premaritally
conceived maternities in
1968, compared with
130,560 in 1963, according
to the doctor.
Studies showed that most
single women had sex more
often and with more partners
after taking the pill, he said.
For the single, Dr. Morton
said, the brith control pill
may be classified with the
most dangerous of polluting
pesticides and is stamped
with the same criteria of
failure - short-sightedness,
inability to see latent side
effects, lack of adequate field
trials, too little thought, and
too much enthusiasm.