Newspaper Page Text
PAGE 6 - November 2,1972
=*=*
LIFE IN MUSIC
BY THE DAMEANS
I CAN SEE CLEARLY NOW
I can see clearly now, the rain is gone
I can see all the obstacles in my way
Gone are the dark clouds that had me blind
It’s gonna be a bright, bright sunshiny day
It’s gonna be a bright, bright sunshiny day.
I think I can make it now the pain is gone
All of the bad feelings have disappeared
Here is the rainbow I’ve been praying for
It’s gonna be a bright, bright, sunshiny day.
Look all around there’s nothing but blue skies
Look straight ahead, nothing but blue skies.
I can see clearly now, the rain is gone
I can see all the obstacles in my way
Gone are the dark clouds that had me blind
It’s gonna be a bright, bright sunshiny day.
It’s gonna be a bright, bright sunshiny day.
By Johnny Nash
(c 1972 CBS, Inc.)
Just think (or feel) for a moment -- the exhileration of a brisk, clear fall day,
the freedom of a walk along the beach or rambling through the woods. You can
sense the power of standing on a hill, viewing the scene below as it is spread
before you. There is purity in getting away from the smog-filled air, and being
able to just take a good deep breath. It’s great to be alive!!
These are peak moments in life when we are convinced that the world is
beautiful and something special. These are the times when we feel like we are at
the core of our existence, when we have become more of ourselves and
completely “take in” those things surrounding us. The scenes mentioned above
are encounters with nature but certainly that same consciousness occurs at times
when we are personally trying to put things together inside ourselves or in our
relationship with others or with situations which confront us in our lives.
We are talking here about those special instances when the “bright sunshiny
day,“ the “blue skies,” or the “rainbow” totally replace the rain and the dark
clouds. As Johnny Nash says it, “I can see clearly now.” This song is the title song
of a album by this newly successful composer who does it all on this record -
singer, composer, arranger and producer. His approach in this song is that of
someone who knows what it is to suffer through ordeals but now feels a real
high in his life. The flip side of the record is “How Good It Is.”
Boy, do we ever need these “ups”!! Nash could be talking about a big
transformation in life, a new dawn for a person or a country, a totally renewed
thrust. These peak experiences can be the most natural and simple expressions of
man, yet reach the depth of what that person perceives his life to be.
These “renewals” can be a smile, a kind and encouraging word, a compliment,
a good grade, an understanding person. It is that moment when we really
communicate with another - when friends open up to each other, when a
mother and daughter share at a deep level or when a teacher sees his efforts
rewarded by the obvious growth of a pupil. All of these examples give us
renewed hope to continue on, to say with everything that we are “I think I can
make it now.”
This feeling certainly exists on a personal level in those phases of living when
we are really bogged down with personal problems and don’t know where we are
in our lives or where we are going. All of a sudden, an insight might come to us
and we are able to “see all the obstacles” that have been in our way. We are able
to remove ourselves from these obstacles, put things in perspective, and have
that moment of peace knowing what has been keeping us from being happy.
How long does this great feeling of getting it all together last. It really doesn’t
matter. “Dark clouds” and “rain” are part of life, so we know that if we are
really immersed in living these will be back. However, the bright spots, the
“rainbows,” show us what happiness and peace can be like. They give us hope to
continue on, that feeling of resurrection which is so powerful that we are assured
that we “can make it now.”
=K=
=H=
=H=
Cursillo Movement Called
Splendid Sign of Hope
66
CINCINNATI (NC) - The Cursillc
movement is “a splendid sign of hope” in
an age of turmoil, Bishop Edward A.
McCarthy of Phoenix, Ariz., told a
Cursillo celebration here.
. Y
“In the midst of this polarization of
values and attitudes, things are happening
in our society that make our times the
age of the hope,” the bishop said.
“The counter movement of the Holy
Spirit is growing. Writers are making hope
the main characteristic of today’s
theology and spirituality - and the
Cursillo movement is one of the splendid
signs of that hope.”
“Under the pressure of our times,” he
continued, “many people are being driven
to rediscover the reality of God in their
own personal lives; they are experiencing
an inner anxiety for meaningful and
creative and enthusiastic sharing of their
faith.”
The Cursillo movement includes a
three-day retreat-like weekend that
combines lectures and religious services
aimed at developing Christian action
\ leaders.
\
\ “As Cursillistas,” he told his audience,
“we are part of the movement of
reawakening faith and hope in God and a
deep awareness of dependence on each
other as part of a revolutionizing
community.”
Moreover, the Cursillo movement can
promote “the spirit of understanding, of
patience, of love and trust and harmony,
indulgence and forgiveness -- the spirit of
reconciliation,” Bishop McCarthy said.
Nashville’s Bishop Durick
Reaffirms Celibacy Support
WHAT BIG EYES YOU HAVE, FATHER - “The better to get a smile,” might be the
reply of Father Francis A. Bain, a puppeteer on a pilot religious series for pre-school
children in the Diocese of Rockville Centre, N.Y. Father Bain is pastor of St. Raphael’s
Church, East Meadow, N.Y. The program does no obvious teaching, but is designed to
promote religious development and an openness to Christianity. (NC Photo by Thomas
Moloney)
44
NASHVILLE, Tenn. (NC) - Bishop
Joseph A. Durick of Nashville issued a
statement reaffirming support for priestly
celibacy after a lay organization
distributed letters and questionnaries here
dealing with the issue.
The prelate, whose comments were
made to the diocesan paper, The
Tennessee Register, did not mention the
group by name, The Concerned Catholics,
but suggested its material obscured “the
other more pressing needs of the Church”
by placing excessive stress on celibacy as
“in itself a central point of crisis in
priestly life today.”
Concerned Catholics, formed last
winter, distributed the letters and
questionnaries to some Catholics in
Nashville at the beginning of October.
The letters indicated the group’s support
for permitting former priests who have
married to return to some formal
activities within the Church. The
questionnaires apparently were designed
to determine the opinions of those polled
on such possible work for former priests.
In his statement, Bishop Durick noted
that his support for priestly celibacy
derived from the position on the issue
taken by the Vatican and world Synod of
Bishops. Referring to the materials
distributed by the Concerned Catholics,
he asserted:
“Obviously, the attention given to
celibacy in those statements showed an
awareness of the allegations that celibacy
is in itself a central point of crisis in
priestly life today. To give it such a place,
or to direct attention to it to the point of
obscuring the other more pressing needs
of the Church and of priests themselves,
does not stand with the best sociological
and theological studies on the matter of
the priestly ministry today.”
Mother Teresa: Going about Like Jesus
BY PATRICIA BARTOS
PITTSBURGH (NC) - The generous,
ever-present smile, the calm, deepset eyes
give an indication of the comfort Mother
Teresa has given to the many thousands
of dying poor whom she has helped.
Speaking softly with a crisp accent, the
Yugoslav-born Sister, who spoke at the
National Catholic Stewardship
Conference here, gave an interview about
the work of her order, the Missionary
Sisters of Charity.
Film Classifications
A — Section I — Morally Unobjectionable for General Patronage
A — Section II — Morally Unobjectionable for Adults, Adolescents
A — Section III — Morally Unobjectionable for Adults
A 4 Section IV — Morally Unobjectionable for Adults, Reservations
B — Morally Objectionable in Part for All
C — Condemned
THE ASSASSINATION OF TROTSKY
(Cinerama) ... Flawed, fascinating study in
Red history. — Leon Trotsky was the arm of
the Russian Revolution as much as Lenin was
its head. But Trotsky was more than the
architect of the Red Army; he was also an
impassioned theoretician, a rousing orator, and
a brilliant writer. Stalin’s ruthless machinations
after Lenin’s death in 1924 put Trotsky to
flight and exile by the end of the decade. The
only real challenge to Stalin’s power during the
Thirties was Trotsky, whose influence reached
its zenith with the 19 39 Nazi-Soviet Pact that
threw the international Communist apparatus
in total confusion. Trotsky’s voice had to be
silenced now more than ever, and in 1940 one
of the many attempts finally succeeded.
The film which Joseph Losey has made of
this affair is not about the shifting politics of
the time (although the desperate atmosphere of
those days is conveyed strongly, especially
through the revolutionary Mexican murals that
punctuate the film). Nicholas Mosley’s script
centers on the two protagonists, seen not from
the political angle but from the human. The
victim (Richard Burton) is a strangely
sympathetic character, the brilliant captive of
his own ideology yet personally warm and
vulnerable. The assassin Jacson (Alain Delon),
in contrast, is a shadowy enigma who clearly
exhibits classic symptons of psychological
disturbance.
It is here that the film fails. Jacson is so
obviously a dangerous individual that his
gradual infiltration of the closely-guarded
Trotsky compound is simply not credible,
particularly since Jacson’s girlfriend (Romy
Schneider) was a loyal secretary to Trotsky.
Nor are we allowed an insight into his
character, since Losey has limited himself to
dealing only with proven fact and Jacson
steadfastly refused to reveal anything about
himself or his motives.
Even with this central reservation, the film is
a fascinating one that succeeds in placing its
figures into an historical time and place. Burton
may not be the ideal actor to have portrayed
the magnetic Russian revolutionary, but the
material is powerful enough to absorb out
attention. Midway through the film Losey uses
the brutal metaphor of the bullring to reflect
the contest between assassin and victim.
Although we are repulsed by its bloodlust, this
ritual of death, totally artificial and completely
one-sided, reawakens one to the value of life
and the futility of human society to guarantee
it. (A-lll)
THE EMIGRANTS (Warner Bros.) Sweden is
the source of this engrossing beautiful film
about the American Dream. Set in the middle
of the last century, the film traces the history
of a peasant farming family eking out a bitter
existence in the harsh environment of
backwoods Sweden, showing their agonizing
decision to leave everything behind and set out
for a new life in the American Northwest, their
harrowing voyage across the ocean, and their
difficult but ultimately rewarding journey to
make a claim in Minnesota. Liv Ullmann and
Max Von Sydow, under the gentle but firm
direction of Jan Troell (who also wrote and
photographed), give the performance of the
decade as the central figures. The film is long —
2 1/2 hours - but in a way it is long enough,
because it builds its straightforward narrative
via human details and incidents, and everything
is fascinating and revealing. A sequel has
already been completed, and will be released
late this year or early next. Highly
recommended. (A-ll)
YOUNG WINSTON (Columbia) Simon Ward
in the title role bears an uncanny resemblance -
in looks, voice, and mannerisms -- to the great
British stateman in his salad days. Director
Richard Attenborough’s film, written by Carl
Forman from Churchill's memoirs and such,
also bears a remarkable resemblance to the
real-life events it depicts in a semi-awed,
semi-romantic manner. The film is big, and it is
big entertainment, as we follow Churchill from
an unhappy schoolboyhood through his only
slightly more bearable days at Sandhurst, and
on into a downright adventurous young
manhood as a brash lieutenant in the Sudan and
India and as a politically ambitious war
correspondent during the Boer War. The film is
ponderous in its early stages, but picks up speed
and interest in the second half, and all along the
way, there are fascinating bits of home life with
staid, tragic father Randolph (Robert Shaw)
and enchanting Mama Jennifer (Anne
Bancroft). Jolly good show, especially for those
with stamina. (A-l I)
YOU'LL LIKE MY MOTHER (Universal) is
on old-style horror melodrama that has poor,
pregnant Patty Dukes come to visit her dead
husband’s mother (Rosemary Murphy) in the
family’s spooky, once-elegant mansion, only to
be disowned, abused, imprisoned and yes,
nearly killed by her dastardly hostess. We
suspect, long before Patty does, the mother is
not really mother and that the young man
prowling the dimly-lit halls is dead hubby’s
childhood tormentor (Richard Thomas) who,
so the news clippings have it, is being sought for
a rape-murder. After all these complications
what can Patty do but give birth and, lucky for
her, there’s a retarded young lady (Sian Barbara
Allen) present to keep Patty’s baby out of
tne clutches of mother Murpny. jo Heims
screenplay from the novel by Naomi Hintze has
some nice if predictable twists, and Lamont
Johnson directs with a sharp eye for the horror
potentials of his setting in a real-life Minnesota
winter. Unfortunately, Johnson fails to build
suspense from one scene to the next and Gil
Melle’s musical score works like a teletype.
(A-lll)
TWO ENGLISH GIRLS (Janus Films)
Francois Truffaut, the director of JULES AND
JIM, has made the perfect companion piece for
it. The situation, however, is neatly reversed
with the man (Jean-Pierre Leaud) this time in
love with two sisters and unable to make a total
commitment to either. Some viewers will find
the situation completely amoral, at times
shocking, and often ridiculously romantic. But
as a picture of life at the turn-of-the-century,
with its very formal etiquette and artificial
manners, it couldn’t be better. Those who like
it will do so because it is an absorbing story of
the problems that arise from the repression of
normal feelings, the reversal of the situation in
JULES AND JIM. (A-IV)
WILDERNESS JOURNEY (American
National) originates in an unspecified,
unspoiled area of Alaska where old natives still
carve tall totem poles to commemorate a time
“when men and animals walked together as
brothers under the guidance of the Great
Raven.” Here a 12-year-old boy (Tony Tucker
Williams) embarks in his grandfather’s
lightweight canoe on a courageous journey to
find his father (Richard Stitt), a hunting-party
guide whose assistance is needed to rescue an
injured prospector in the mountains back
home. Thoroughly schooled by the rustic
grandfather (Jimmy Cane) in the
anthropomorphic traditions of his ancestors,
the boy respectfully “asks permission” of the
great bear and the mighty whale and the vain
sea lion through whose territory he must pass.
The boy’s adventure, naively and fantastically
contrived as it may seem, is rendered
suspenseful and engrossing by Chuck D. Keen’s
superlative color photography of the wildlife
and by the reverent narration (solemnly
delivered from the grandfather’s viewpoint)
which Keen has written. Even more remarkable
is the revelation of JOURNEY’S director:
83-year-old Ford Beebe, whose career in films
dates back to 1914. Combining old legends
with a story of real people whose stilted
dialogue only proves this sincerity, Beebe and
company guarantee splendid family
entertainment. (A-l)
RECENT FILM CLASSIFICATIONS
Countless Dracula (Fox) — B
Vampire Circus (Fox) — A-l 11
Lady Sings the Blues (Paramount) - A-IV
Trick Baby (Universal) - A-IV
Following the fighting in Bangladesh
last year, the Sisters cared for young
women raped by Pakistani soldiers during
the war and offered to take any
unwanted babies and place them for
adoption.
Fourteen children have gone to new
homes in Canada, she related.
The real story, Mother Teresa feels,
and the one which hasn’t been told
before, is the way the girls’ families
responded.
Many of the parents broke with
Moselm law to come and take the girls
and children home. Young soldiers in the
Freedom Army, following Sheikh
Mujibur Rahman’s decree that the raped
women were to be treated as honored
citizens, offered to marry the girls.
Others, following the birth of their
babies, found jobs as seamstresses and
tailors - crafts they learned from the
Sisters, or returned to their university
studies.
The order still maintains a home in
Dacca, staffed by 16 Sisters.
“The girls felt that while the Pakistani
soldiers violated their bodies, they didn’t
violate their souls,” Mother related.
Her work began when Mother Teresa
left the order of Sisters of Loretto 25
years ago and set out alone to help the
poor in Calcutta. The order now
embraces homes in eight countries. “The
poor are the poor all over the world,” she
said.
“We feed the hungry Christ, we clothe
the naked Christ, we give homes to the
homeless Christ - this is the whole work
of everyone of us,” she said.
References and praise to God are laced
with frequency and ease through all her
conversation. “We depend solely on Divine
Providence,” she said.
Future homes will soon be set up in
South American countries, she indicated,
with the first to be established in the
slums of Lima, Peru. Five Sisters will
leave soon to begin the project.
Speaking of the rapid increase in the
size of the Missionary of Charity
community (presently more than
700 Sisters) while other orders are losing
members, she said “plenty of girls want
to give their whole lives to Christ. They
want a life of poverty in contact with the
poor.”
She listed the four qualities sought in
young girls wishing to join the order:
health of mind, health of body; “plenty
of common sense” and most important, a
cheerful disposition.
In Calcutta now, Mother related, in
addition to the 50 homes for the poor,
the dying, lepers and children, more than
3,000 children are studying in the Sisters’
“slum schools.” After completing work at
these schools, the children can move up
to regular schooling, she said.
Mother Teresa’s traveling companion,
Eileen Egan of the Catholic Relief
Services and an official of the Internation
CO-Workers of Mother Teresa, recalled
her first meeting with Mother.
Miss Egan had gone to Calcutta for her
CRS work and was amazed to watch the
Sister “just going about through the
streets like Jesus.”
As Miss Egan told of the help coming
to Mother Teresa from across the
country, the dinner tray arrived.
Quietly, Mother Teresa rose, arranged
an end-table into a make-shift dinner
table, lifted two chairs into place and
began setting the table for their brief
meal before leaving for her talk.
Knights of Columbus
Reelect McDevitt
BOSTON, Mass. (NC) - John W. McDevitt has been reelected to a 10th term
as supreme knight of the Knights of Columbus by the board of directors of the
fraternal organization of Catholic Men.
McDevitt, 65, first was selected chief executive officer of the group in
February 1964. He has served as deputy supreme knight since 1960.
A native of Malden, Mass., McDevitt had served as chairman and member of
several school boards in Massachusetts and was chairman of the state’s board of
education before joining the Knight’s New Haven Office as deputy supreme
knight.
Besides reelecting McDevitt, the knights of Columbus 21-member directors’
board meeting here reelected Charles Ducey of Hamden, Conn., as deputy
supreme knight; Virgil Dechant of La Crosse, Kan., as supreme secretary; Daniel
McCormick of Maplewood, N.J., as supreme treasurer; Harold Lamboley of
Monroe, Wis., as supreme advocate; John Griffin of Hughesville, Md., as supreme
physician; and Bishop Charles Greco of Alexandria, La., as supreme chaplain.
TV Movies
SUNDAY, NOVEMBER 5 — 9:00 p.m.
(ABC) - VON RYAN’S EXPRESS (1965) -
Fast paced action thriller that focuses on some
prisoners-of-war and their escape by train
through the Italian Alps into Switzerland with
moments of high excitement. Some scenes are
played too heavily for laughs and patriotism,
and one wonders if Frank Sinatra is possibly
too old for this vehicle. Directed by Mark
Robson, with an excellent choice of
international cast in related roles. (A-l)
WEDNESDAY, NOVEMBER 8 — 8:30 p.m.
(ABC) - ALL MY DARLING DAUGHTERS -
Original TV feature sounds like a corny but
food show — with Robert Young starring as a
more than siightiy dazzled dad whose four
lovely daughters all decide to get married the
same day.
THURSDAY, NOVEMBER 9 — 9:00 p.m.
(CBS) - WAIT UNTIL DARK (1967) - Audrey
Hepburn stars to perfection as a recently
blinded housewife determined to become the
“world’s champion blind lady” to please her
husband (Efrem Zimbalist, Jr.) She undergoes a
harrowing trial when her life is threatened by
three men (Alan Arkin, Richard Crenna, Jack
Weston) in search of a doll that contains a
cache of heroin. Director Terence Young’s
adaptation of the hig Broadway play may not
be “cinema,” but it is scripted and edited with
such intensity that even its slightly incredible
elements pass in a super suspense melodrama
for all but the youngest members of the family.
Plot intricacy and high tension too much for
little ones. (A-l I)
FRIDAY, NOVEMBER 10 — 9:00 p.m. -
HORNET’S NEST (1970) - As any war-movie
fan knows, an American G.l. can wipe out an
entire German division. And when that
American is Rock Hudson, mustachioed Marine
paratrooper-commando leading a rag-tag band
of pre-adolescents waifs, nothing short of
Rommel’s Afrika Korps is going to slow things
down. The sole survivor of an abortive raid on
an Italian dam ripe for blowing up, Hudson is
forced by the script to enlist the aid of a dirty
two dozen teeny-boppers to accomplish his
mission. And before they’ll help HIM, he must
help the kids wipe out the Nazi contingent that
wiped out their families and friends. Hudson
must also contend with Sylva Koscina, an
Italian-accented German doctor kidnapped by
the yountsters to provide some soulful looks
and to hang around for a couple of rape scenes.
If all of this sounds dramatically and morally
improbable and confused, it is only b because it
is. (B)
SATURDAY, NOVEMBER 11 —9:00 p.m.
(NBC) - GIANT (1955), Part I - Audiences
seeing GIANT will smile at some of its
old-fashioned melodrama but they may find the
picture altogether intriguing and interesting.
The film is clearly less about Texas than about
the problems which film makers ’discovered’
during the Fifties-. the gap between
NOUVEAUX RICHES parents and their
racial prejudice (this time toward Mexicans),
the waste of war, arrd marital incompatibility.
The treatment of most of these issues is largely
unsophisticated but the passage of time has
made them fascinating. In any case, less
plot-oriented viewers will be able to relish the
steady pacing of Stevens’ careful editing
without worrying about the story. EASY
RIDER’S Dennis Hopper is the clean-cut,
intense son of Texas patriarchs Elizabeth
Taylor and Rock Hudson, while James Dean
(who was killed before the picture's
completion) gives his most moving performance
as the inarticulate cowhand who strikes it ricfV.
Dimitri Tiomkin’s highly acclaimed score is
simply dreadful by contemporary standards,
but that same yardstick makes GIANT ail the
more entertaining and worthwhile. They don't
seem to make films like this anymore. (A-l)