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PAGE 6-May 10, 1973
LIFE IN MUSIC
BY THE DAMEANS
Hallelujah Day
Refrain:
Hallelujah Day, Sing Hallelujah
Love is on its way
Its coming to ya.
Children gather round now,
Clap your hands and sing.
That ole sun is shining down,
So the bells are gonna ring.
Can you see that ray of hope?
Somebody find me summer light.
They’re gonna send by brothers home,
He’s gonna be alright.
People come together
Let the good times roll.
You can make this life forever.
If you feel it in your soul.
Somebody find the key.
Somebody open up the door.
Now they’ll be dancing in the streets,
This is the day we’ve been waiting for!
Everybody gets together
Put your hands like this
And sing along with the Jackson Five.
Sing Hallelujah, Sing Hallelujah, Sing Hallelujah.
c Jobet Music Co./Inc. (Ascap) 1973
Has it been a long winter for you? You know what I mean -- dreary days,
nothing to change the monotony and outline of everyday living, the
uncomfortable feeling of wanting and waiting for something different to happen.
Winter at best is a time of patient endurance, waiting for something better to
come along.
The song “Hallelujah Day” by the Jackson Five proclaims the time that we’ve
been waiting for. It sings out the calm after the storm, the spring after the
winter, the peace after the war. The symbols used in the song are all signs of
celebration and joy - bells ringing, sun shining down, summer light dancing in
the street. There is definitely the feeling that “it’s gonna be alright.”
The “winter-spring tension” in life is a phenomenon that very few people are
able to escape. We need the “Hallelujah Day” to pull us through the difficult
times that we know is part of our human existence. It’s like the kingdom
(Hallelujah Day) is present, is a reality, but no completely. There are still peoples
and situations which prevent it from having a total, lasting effect.
The Jackson Five do see how it could be more lasting, even last forever “if
you feel it in your soul.” To feel something in your “soul” is to totally make it a
part of your self, to the very core of who you are, a real commitment. Once this
“key” to life has been found and the “door” has been opened, there is no doubt
that the celebration of life will begin and “they’ll be dancing in the street.”
In the time of Christ, a real “Hallelujah Day” could have been the time that
he was in the temple in Nazareth and he opened the scroll and began to read
from the Book of Isaiah:
“The spirit of the Lord is upon me;
Therefore he has anointed me.
He has sent me to bring glad tidings to the poor,
To proclaim liberty to captives,
Recovery of sight to the blind,
And release to prisoners,
To announce a year of favor from the Lord.”
We are told that he closed the scroll and said to those present “Today this
Scripture passage is fulfilled in your hearing” (Lk. 4:21). This was a “Hallelujah
Day” for this began the reign of his kingdom, a kingdom of joy, happiness, love,
hope and peace. It is a kingdom opened to all men, to be shared and promoted
among men. We are all invited to do our part in making it more a reality and
making it develop and grow.
The final verse of “Hallelujah Day” announces this invitation of joy;
“everybody get together - sing along with the Jackson Five . . . sing Hallelujah.”
(Direct al! correspondence to: The Dameans, St. Joseph’s Church, 216 Patton Avenue,
P.O. Box 5188, Shreveport, La. 71105.)
TV Movies
SUNDAY, MAY 13 — 9:00 p.m. (ABC) -
WHERE EAGLES DARE (1969) (Part I, Part
II will be presented Monday evening, May
14). 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
directed this interminable, totally implausible
series of killings, escapes and pyrotechnic
displays. (A-lll)
MONDAY, MAY 14 — 9:00 p.m. (ABC) -
WHERE EAGLES DARE (Part II --
Conclusion of film described above, for
Sunday, May 13.)
9:00 p.m. (ABC) - THE PRIVATE NAVY
OF SERGEANT O’FARRELL (1968)
Patchy Bob Hope - Phyllis Diller comedy set
on a Pacific island during World War It. As
O’Farrell, Hope manages to forget his old
romance with Maria (Gina Lollobrigida) while
raising morale on an Army-Navy base. He
locates a lost cargo of beer and makes friends
with a stray Nisei soldier (Mako), but his plan
to provide feminine atmosphere goes awry
when incoming nurses turn out to be all male
but for Miss Diller. Japanese subtitles on an
enemy submarine sequence and a parody of
the Lancaster-Kerr beach embrace in FROM
HERE TO ETERNITY (Gina turns up in time
to play Deborah) highlight on otherwise so-so
production that is obviously part beer
commercial. (A-ll)
TUESDAY, MAY 15 — 8:00 p.m. (NBC) -
COMPANY OF KILLERS (1970) - This
run-of-the-mill police vs. hired killers drama
sports nothing exceptional by way of plot or
style. Van Johnson heads a special police
squad trained for unusual assignments, while
Ray Milland sets the wheels in motion for a
murder to help his financial designs. The rest
of the story is a cliched detective adventure
already done, with minor variations, a
hundred times on television. Mild doses of
violence, sex, and some ambiguous religious
themes fail to add interest or depth to the
routine story. (A-ll)
8:30 p.m. (ABC) - WOMEN IN CHAINS -
Rebroadcast of a made-for-television film
hasn’t much going for it other than star Ida
Lupino (and that’s quite a lot, admittedly)
and a novel plot switcheroo: Serious-minded
parole officer Ida decides to have herself
“imprisoned,” the better to see for herself
how much substance there is to prisoners’
charges of brutality from guards and other
inmates. You guessed it - she learns a lot
more (and faster) than she had bargained for.
9:30 p.m. (CBS) - THE FAMILY RICO -
Television film (and a repeat) deals
melodramatically with a family situation. Ben
Gazzara stars as a tough syndicate boss whose
younger brother Sal Mineo defects the ranks
for more legitimate employment. Hence the
crux of the drama — will Ben choose the path
dictated by the mob regarding drop-outs, or
will he stick by his brother?
WEDNESDAY, MAY 16 — 8:00 p.m.
(ABC) - SOUTH PACIFIC (1958) - Some
enchanted evening! Even without Mary
Martin (Mitzi Gaynor takes her role, and does
it nicely) this Rodgers-Hammerstein musical
translates wonderfully to the screen. The
story focuses on life and love on a Pacific
plantation island in the South Pacific during
World War II. Rossano Brazzi is that man Ms.
Gaynor’s going to wash right out of her hair --
fat chance! Have fun, all. (A-lll)
THURSDAY, MAY 17 — 8:00 p.m. (PBS)
- HUMANITIES FILM FORUM: THE
BATTLE OF CULLODEN (1964) Superb
British production, written and directed by
Peter Watkins, depicts the bloody final battle
of Bonnie Prince Charlie and the Scottish
Highlanders against the English might.
9:00 p.m. (CBS) - COUNTDOWN (1968)
- Exciting visual exploration of the frantic
behind-the-scenes activity surrounding a space
launch. James Caan is top-lined as the NASA
astronaut, whose life as a scientist-spaceman is
complicated by domestic troubles. Good
photography and revealing glimpses of the
Houston Space Ground Control center and
Cape Kennedy overshadow the otherwise
routine drama. (A-l)
FRIDAY, MAY 18 — 9:00 p.m. (CBS) --
THE SERGEANT (1968) - This is one of
actor Rod Steiger’s best-ever screen
performances (and lately, he needs all the
encouragement he can get), as he utterly
inhabits the characterization of an outwardly
tough but inwardly very disturbed Army
sergeant. Director Johy Flynn and cameraman
Henri Persin help enhance Steiger’s
performance by carefully creating the bleak
postwar Army environment with
extraordinary reverence for detail. As a young
recruit who comes into conflict with his
latent-homosexual sarge, John Phillip Law is
also quite effective. Fine, finely wrought
adult drama. (A-lll)
SATURDAY, MAY 19 —9:00 p.m. (NBC)
-- LOVE IS A BALL (1963) - Frothy
romantic comedy is set on the glittering
French Riviera and stars Glenn Ford, Hope
Lange and Charles Boyer (at his charming
best). The plot, a necessary evil in this sort of
production, involves Boyer’s attempts at
matchmaking, which inevitably get all crossed
up - particularly where Ford and Ms. Lange
are concerned. Well, at least nobody breaks
into song. (A-lll)
SURREY WITH A CARDINAL INSIDE -- Cardinal John Krol of the day before Bishop Rausch’s episcopal ordination. The cardinal is
Philadelphia rides in the back seat of a surrey along with retired Bishop related to six priests of the St. Cloud diocese, including Father J. Alfred
Peter W. Bartholome of St. Cloud, Minn, and Bishop James Rausch as Kroll, pastor at Gilman. The Minnesota Krolls spell the name with two 11s.
they arrive for a celebration in the Polish community of Gilman, Minn., (NC Photo by Vern Bartos)
Maritain’s Death Marks End of Era
BY CHARLES A. FECHER
The death (April 28) of Jacques
Maritain, at the age of 91, virtually
brings to an end a whole era in the
intellectual and cultural history of the
Catholic Church.
It was an era characterized by the
philosophical movement known as
“neo-Thomism,” an attempt by Catholic
thinkers to apply the principles of the
13th-century Dominican theologian, St.
Thomas Aquinas, to the problems of the
modern world. Maritain’s leadership in
this movement and the inspiration
which he provided to others made him
one of the most important and
influential figures in the modern Church
history.
Though he had nothing in common
with any of them, he is usually ranked
with such towering figures of latter day
philosophy as George Santayana,
Benedetto Croce, Alfred North
Whitehead and Bertrand Russell.
His 50-odd books, spanning a period
of more than half a century and
translated into every major civilized
language, had long ago earned for him
the title of “the greatest living Catholic
philosopher.”
Pope Paul VI called him “my
teacher” and quoted him in his
encyclical Populorum Progressio (On
the Development of Peoples). At the
height of his fame, in the 1920s and
30s, he lectured at Oxford, Yale, Notre
Dame and Chicago, and taught at Paris,
Toronto and Princeton. Colleges offered
courses in his thought.
In 1963 the French government
honored him with its National Grand
Prize for Letters.
But since the death of his wife,
Raissa, in 1960, Maritain had lived in
quiet retirement in the community of
the Little Brothers of Jesus at Toulouse,
France, and the world had heard little
of him. He was in large part neglected
and forgotten, a victim of the wave of
change that swept through the Church
in the wake of the second Vatican
Council.
Ironically, he is given much of the
credit for having set that wave in
motion.
In his books, articles and lectures, he
had repeatedly called upon the Church
to bring its philosophy and theology
into contact with present day problems.
He was convinced that the thought of
St. Thomas was as valid now as it was in
the Middle Ages, and his own work was
an attempt to apply it to modern
sciences, politics, sociology, ethics and
art.
Born at Paris, Nov. 18, 1882, into a
“liberal Protestant” family, Maritain
was educated at the Sorbonne in an
atmosphere of religious skepticism and
complete confidence in scientific
progress. In the courses which he took
there he found no answers to his eager
questions about “the absolute,” but he
did find something better: a charming
young Russian-Jewish girl named Raissa
Oumansoff, whom he married in 1904.
Mrs. Maritain was a gifted poetess
who collaborated with him on several of
his books and wrote many others
herself. “The best things I owe to my
studies at that time,” he said much
later, “is that they let me meet the
woman who since then has always,
happily for me, been at my side in a
perfect and blessed communion.” That
communion was to last for 56 years.
In 1905 a chance bit of
correspondence brought the Maritains
into contact with Leon Bloy, a powerful
and polemical Catholic writer. Although
they knew nothing about the Church,
Bloy’s deep, unquestioning faith made
such an impression on them that they
began to study its teachings and, in less
than a year, were baptized.
At first Maritain was sincerely
convinced that it would be impossible
to be a Catholic and a philosopher at
the same time, and he was quite
prepared to abandon his philosophical
studies. But the discovery of St. Thomas
convinced him that here was the only
philosophy that had a truly perennial
validity, one that stood above the
shifting currents of the times.
The study of Aquinas revealed his
own vocation to him. It would be to
bring the principles of Thomism from
behind the seminary walls where they
had been confined so long and use them
to confront what he considered to be
the errors of modern philosophy. His
earliest book, “Bergsonian Philosophy
and Thomism,” published in 1914, was
the first step in this task.
In the years that followed, dozens of
other books carried his work forward.
“Art and Scholasticism” (1920) applied
Thomsitic philosophy to the problems
of modern art. “The Degrees of
Knowledge” (1938), generally
MONEY, MONEY, MONEY (Cinerama)
... is funny, funny, funny, (at least for a
while) - MONEY, MONEY, MONEY is funny,
funny, funny - up to a point, at least, that
point coming about twenty minutes before
this caper comedy from Claude Lelouch
finally manages to wrestle itself to a stop. It’s
too bad, because one of the most amusing
scenes-the kidnapping of the Pope (you have
to see the picture in order to place this in
context) - comes just a bit later. But by then
MONEY, MONEY, MONEY is spent, and the
grip of boredom has taken its toll.
Lelouch seems determined at this point in
his career to keep away from the sappy but
magnetic sentimentality that created such a
stir over A MAN AND A WOMAN, the film
that established his reputation in America and
won him an Oscar to boot. His recent films
(THE CROOK, SMIC SMAC SMOC) have
studiously avoided any hint of seriousness,
much less of deep emotion, and rather have
concentrated on whipping up the lightest sort
of froth possible. In MONEY, Lelouch gathers
together a rag-tag band of French con artists,
petty thieves, bank robbers and assorted other
underworld creeps and makes them into a
craftily apolitical band of kidnappers who
specialize in grabbing political figures whose
governments or parties have hefty ransoms
available. The gang-composed of Lina (Lina
Ventura), Jacques (Jacques Brel), Simon
(Charles Denner), Chariot (Charles Gerard)
and Aldo (Aldo Maccione) are individually
misfit but somehow work smoothly
together-that is, their idiosyncratic bumblings
complement one another’s foolishness, and
collectively they manage to back into far
greater success than their dim but greedy
minds ever dreamed of.
They kidnap France's top pop singer,
Johnny Hallyday, who not only coughs up
the ransom but regards it as small change in
terms of the stunt’s worth in publicity. Their
snatch of a South American diplomat makes
them even richer and leads directly to their
next victim, a local Castro-type revolutionary,
etc., etc. Always playful, Lelouch lets his
master bumblers “retire” to the South Pacific
where they not only find complete boredom
but become kidnap victims
themselves--because, naturally, they are very
rich men by now.
considered to be his masterpiece, was a
penetrating and difficult study of all
levels of knowledge from science to
mysticism.
Until 1926, virtually all of his
writings dealt with the rarefied worlds
of metaphysics and epistemology. But
in that year, the condemnation by
Rome of a French political right-wing
movement called Action Francaise
turned his attention to politics, and he
became increasingly embroiled in
practical matters.
“The Things That Are Not Caesar’s”
(1927) and “Integral Humanism”
(1936) called for the establishment of a
political and social order based upon the
principles of Christian humanism.
Maritain insisted that the only true
democracy was that which was
penetrated by what he called “the
leaven of the Gospel.”
In 1960 he published “Moral
philosophy,” a 588-page historical study
of the major ethical systems. It was to
have been followed by a similar work
treating moral problems, but the
projected second volume was never
written.
During their years in Paris,
the Maritains’ home was a weekly
meeting place for artists and
intellectuals. They numbered among
their friends and acquaintances
musicians like Igor Stravinsky and Eric
Their escape from French justice (the story
is told in flashback as testimony against them
is heard in a French court) is pre-arranged
because the more their activities become
public, the more the government is
embarrassed. This segment provides one of
the most playful moments in the film, as the
gang makes haste (and lays waste) when they
don’t have to rush at all (traffic cops even
clear the streets for their getaway). The final
caper, with the Pope as their transient guest,
is a funny but superfluous twist in a film that
has already pretty much run its course.
As the gangsters, Brel, Denner, Ventura,
etc. are properly middle-aged, paunchy, and
lovable-Lelouch is very careful to make them
seem harmless, and, indeed, they go out of
their way to avoid hurting anyone. There is
no real moral problem with the film, because
everything is make-believe -- including the
semi-clad Tahitian beauties who act as sirens
for the rude band that kidnaps them. Some of
the film’s Gallic humor might possibly escape
casual American audiences, but for Lelouch
devotees and moviegoers who have acquired a
taste for well-spiced souffle, MONEY pays
real dividends. (A-lll)
CHARLEY AND THE ANGEL (Walt
Disney-B.V.) are, respectively, Fred
MacMurray and Harry Morgan: Charley is a
hardware store owner caught in the troubled
financial times of the Great Depression, and
the Angel is a messenger from “Up There”
sent to bring Charley to the judgment seat of
his Maker-where things will not go well since
poor Charley has had no time for the wife
(Cloris Leachman) and kids (Kathleen Cody,
Vincent Van Patten and Scott Kolden) -- what
with all those difficulties in the nut-and-bolts
business. When Charley learns what’s in store
he does a quick about-face and decides to
make it all up to the family by a trip to the
Chicago World’s Fair. While the Angel,
naturally visible only to Charley, stalls the
Authorities so Charley can make good his
conversion, his two boys try earning some
extra spending money, which leaves them
involved, unwittingly, in a bootleg operation
that gets Charlie arrested in a raid on the local
spea keasy-c um b ro thel. Director Vince
McEveety handles this atypical Disney
material with a suitably light touch that
Satie, painters like Georges Rouault and
Marc Chagall, and such avant garde
poets as Jean Cocteau.
Maritain spent the years of World
War II in exile in the United States
writing, teaching and lecturing. At the
end of the conflict, Gen. Charles de
Gaulle named him French ambassador
to the Vatican, a post in which he
served until 1948. In that year, he came
to Princeton to teach philosophy and
remained on the faculty until his
retirement in 1952.
Maritain was long regarded as a
“liberal” thinker in Catholic circles, and
has advanced position on many political
and social issues earned him bitter
enmity among more conservative
Church thinkers. Attempts were even
made to have his books condemned by
the Vatican, but they were unsuccessful.
Maritain, however, was never a liberal
as that term has come into use since
Vatican II.
As a matter of fact, when the
post-conciliar changes did come, he
found many of them more than he
could take. One of his last books, “The
Peasant of the Garonne” published in
1966, when he was 85 years old, is a
scathing attack on the forces of
theological liberalism which, he claimed,
were causing the Church to “kneel to
the world.”
allows Harry Morgan a maximum amount of
fun while emphasizing the positive messages
of the story. As usual, this Disney production
leaves the basic myths of the American family
life, and in this case, the real hardships of the
Depression Era unexplored, but then the kids
and undemanding adults for whom Walt
Disney and family entertainment are
synonymous, would not have it any other
way. (A-l)
CLASS OF ’44 (Warners) Like too many
sequels, this follow-up of SUMMER OF '42 is
a shallow exploitation of its predecessor’s
success. Whatever the problems in the earlier
film, director Robert Mulligan at least had the
decency to take his characters and situations
seriously and to carefully evoke the wartime
period thoughtfully enough to integrate it
with the basic drama. In '44,
producer-director Paul Bogart merely pays
homage via quick references to the Mighty
Macks singing “Mairsy Doats” and shots of
patriotic World War II posters. This time
around Hermie (Gary Grimes), Oscy (Jerry
Hauser) and Benjy (Oliver Conant) graduate
from their Brooklyn high school to the
reputedly wonderful world of the U.S.
Marines (for Benjy) and college somewhere in
Cbnnecticut (for the other two). But there is
neither character development (although
perhaps there is metamorphosis, since Hermie
seems to have re-entered his virginal state) nor
dramatic interest, for all Bogart and
auteur-screenwriter Herman Raucher have
done is supply an endless series of situations
that might have sprung from the old Henry
Aldrich radio show (albeit jazzed up to suit
the “new morality”) and plopped everything
down in what passes for Anytown, U.S.A.,
circa 1944. The worst moments include
Hermie’s romancing of coy coed Deborah
Winters (who ought to sue the make-up man),
Oscy’s one-night entrepreneurial experience
with the campus pushover, and several clumsy
episodes involving puerile frathouse pranks.
The only sequence worthy of genuine interest
is Hermie’s return home for his father’s
funeral, but even this tells us more about
Raucher’s early life than we really care to
know. Thus, when Raucher is not trespassing
on our adult sensibilities, we are invading his.
(A-lll)
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 — Section IV ~ Morally Unobjectionable for Adults, Reservations
B — Morally Objectionable in Part for All
C — Condemned