At the Pictures

Sir,—We have been asked why we show so many "foreign" films, why we don't get something like War and Peace, why we show so many films that are full of propaganda, and why do we get so many old films. Well, my answer would be that it is not our aim to show films that are commercially easy to see—we leave that to the cinemas in town—and if a film is exceptional for some reason or other; what does it matter where it is made? As for propaganda, presumably this refers to the fact that some of the films from Russia, Germany. Poland and Czechoslovakia tend to push the party line a bit. This is unfortunately true, but then it can be said for many films from most countries; the most sickening examples c me from the National Film Unit if it comes to that. Whereas the New Zealand audience (bless its complacent, ignorant little mind) snickers audibly at the bull that is thrown around in British. American and Australian newsreels, when it comes to the New Zealand product, well then, "Hooray for us!"

As to the complaints about old films, I suppose this means mainly the silent ones and others of the early 'thirties. Fair enough, I suppose, but these early films (but not all of them, of course), are not i necessarily only museum pieces or stepping stones in the progress towards today's improved technical products; they are still live works of art which can stand on their I own feet with no need for apology. Later in the year we shall be showing some of the greatest films ever made—The End of St. Petersburg, Mother (both from Russia), The Passion of Joan of Arc (France), and The Last Laugh (Germany). These are all silent but will" be shown with musical soundtracks. The loss for anyone who can't be bothered making the effort to re-adjust to the silent medium, will be theirs, not ours or the films'.

A. W. Everard.

(Film Society).

Records

Brahms. Symphony No. 2 in D major, Op. 73. Royal Philharmonic Orch./Sir Thomas Beceham. World Record Club Tz 138 mono and stereo.

From all accounts this is an excellent performance of a beautiful work—the most lyrical of the Brahms symphonies. Beecham is still inclined to his taut reading of the work; still keeps the grip and brisk measure upon it, he was, wont to, 25 years back. There is no eccentricity of tempo, no flamboyance in dynamics apparent in other interpretations: Beecham's drive is both remarkably cool, and magnificently alive. The orchestra plays marvellously. It pianissimos are p-plus, its fortes f-likewise; it lacks at times in the bass and cello sections of the strings, but this is not to detract one from the overall loveliness of the string sound, the exceptional clarity of all the woodwind and good orchestral colouration from the brass. One or two points worth noting are: a flute which sounds remarkably like a pennywhistle in the opening movement; some awful trombone skwarks around bar 225 in the same section; a peculiar absence of the clarinet around bar 75 in the scherzo, and, as I have stated, little depth in some of the more robust parts of the work. Surfaces are quiet. The stereo version is excellent: offering an all-round improvement on the weight and sheen of orchestral sound—a fine recording as is the mon

M.J.W.

Vaughan Williams. Serenade to Music. Fantasia on "Greensleeves." Toward the Unknown Region. Overture "The Wasps." Soloists/Chorus/London Symphony Orchestra/Sir Malcolm Sargent. World Record Club Tz 130 mono.

There couldn't possibly be a better selection of the shorter works of Ralph Vaughan Williams, than is featured on this disc. The Serenade to Music is a beautiful work, originally written as a tribute to Sir Henry Wood and performed by that person on a now memorably historic record; the piece receives here an inspired if n t truly great, rendering. The chief drawback being, bad balance between chorus and orchestra; a very heavy hissy sound whenever the chorus sings words involving either of the consonants "s" or "c". and finally an imperfect expression of diction. However, the s doists in the main are quite good, and the orchestra plays radiantly under the baton of Sargent.

In the other pieces, the Fantasia is well treated, in lacking as It does. the Mantovaniish string quality so often given It by other players; the choral piece 'roward the Unknown Region is likewise finely played, the diction of the singers being decidedly clearer here; and The Wasps too, comes off perfectly. This is a disc to be recommended to all lovers of Vaughan Williams and English music. The recording is clear, with little surface noise and no distortion.

—M.J.W.

Americana. Dixie: Stars and Stripes Forever (Sousa); Aura Lee; On the Trail (Grand Canyon Suite-Grofe); Battle Hymn of the Republic; Hoe Down (Rodeo — Copland); Home on the Range Pavanne (Gould) Capital Symphony Orchestra/Carmen Dragon. Capitol P8523.

This is a pleasant disc, highlighting some of the more favourite American national themes, played, by a fine orchestra, recorded Perfectly. Carmen Dragon has, in the main, made tasteful arrangements of the pieces: but in some parts (Aura Lee. Home on the Range) there is a little too much counter-melody and build-up to the main theme. Nevertheless, the orchestral playing is tremendously clear and sparkling. Dixie opens with a stunning roll on the side-drum. Stars and Stripes features a forward. clear, piccolo solo. On the Trail has its hoof-clops and Morton Gould's Pavanne its jazz medley, all excellently played. The recording is spacious and clear; no distortion, with deep bass end and pure treble.

—M.J.W.

On the Trail of the Hangmen

For most of us, the events of the war years are as remote as those of Victorian times. The brutality and horrors of the Nazi regime seem to have been set aside; even Eichmann's trial has lost its force as a demonstration and exposure of their infamy.

We believe that while hate should not be nourished endlessly, there is a great need for a recall of the reasons for the miseries suffered by so many in Central Europe of the late 'thirties and 'forties. We have already shown one film made bv Germans themselves, Council of the Gods, which, though over-simplified in treatment and theme, did at least show something of pre-war German complacency.

Now we are screening a programme of three shorter films which shows some of the details of the Third Reich's moves toward world domination. To be screened in the first week after study week, the three films are Operation Teutonic Sword, A Journal For Anne, and The Name of the Capital Warsaw. All these are in English.

Operation Teutonic Sword

(Untemehmen Teutorischwert)

(Germany, 1953)

This film points an accusing finger at General Speidel, commander of N.A.T.O. land forces in Europe, uncovering various acts of treachery and betrayal alleged to have been committed over the last 20 years, culminating in his activities during the war. The weight of documentation is immense, ranging from the famous newsreel ot the assassination of King Alexander of Yugoslavia in Marseilles to rare shots of the occupation of Paris and various Nazi conferences. The technique brought to this material is prodigious and unrelenting—all methods of film presentation are used, together with blown-up photos and authentic documents, and a dramatic device involving the "freezing" of images to pinpoint a significant face or detail. All this is complemented by an accusing commentary and harsh, sparsely used music! There is an interesting personal account by Rommel's son confirming that his father took poison rather than submit to the punishment due to be meted out to him. Because of its controversial aspects, this film was banned by the British Censor.

A Journal for Anne

(Ein Tagebuch Fur Anne Frank)

(Germany, 1958)

A young actress is given the leading part in the play The Diary of Anne Frank, at the Deutsches Theatre, Berlin. She determines to learn all she can about the events leading to Anne's death in Belsen concentration camp. Still photographs, documents and actual films are used to show the way in which the Jews were treated during the German occupation of Holland. Men in responsible positions are picked out and their present occupations and addresses in Germany are detailed as we see shots taken with concealed cameras of them in the streets and in their homes today.

The film insists that a number of war criminals concerned with concentration camp atrocities have been let off too lightly or even altogether. One or two, it hints, are now in responsible political position.

This film also was refused a certificate by the British Censor unless all shots and comments showing that the men investigated in till alive were removed, along with the two most horrifying shots of concentration camp victims. We shall be showing the uncut film.

The Name of the Capital is Warsaw

(Poland, 1953)

A documentary which traces the history of Warsaw from the nineteenth century to the present day. Shots from Nazi newsreels are used to describe the destruction of the capital. This destruction was so complete that there was doubt at one time whether Warsaw could be restored at all. President Bierut answered these doubts with the phrase. "The Name of the Capital is Warsaw."

We would like to point out that some parts of this programme may upset the squeamish—they are meant to.

Ninety Degrees South

(Britain, 1934)

Produced, directed and photographed by Herbert Ponting, with a foreword by Vice-Admiral E. R. Evans and commentary by Commander F. A. Worsley, this is a record of Captain Robert Scott's expedition to the Antarctic, as taken by a member of the expedition.

Although Ninety Degrees South is the record of an actual event, it can hardly be called a documentary and has more the quality of a highly dramatic story film. Beginning with an introduction by Ponting in person, of the main people who took part in that expedition to the Pole, the producer of the film goes on to describe both verbally, by means of a commentary spoken by himself in the first person, and visually as his camera pictures the journey, the planning and organisation of Scott's great journey.

Once the ship has left Lyttelton, where the story begins, he shows the life of the men and animals on board. The film continues with a description of the things they see during the sea voyage, and then goes on to describe their landing on the edge of the great ice barrier where they estabish their headquarters and break their last link with civilisation by sending home the ship on which they came and which is to collect them again in a year's time. Finally. Pontine recalls, with the aid of Scott's diary. the last stages of the expedition.

The technical quality of the photography is excellent. Working under extremely adverse conditions Ponting not only photographed, hut developed his film as well. Aided perhaps by the transparent Antarctic atmosphere, and despite the hardships, the result is beautifully clean and detailed.

Music Concert

If the opening concert for the Little Theatre on June 12 did not prove to the interested public the value of both the V.U.W. Music Society and the theatre itself, then this reporter can only suppose that the musical public is either hard to please or just plain dull. For anyone with any enthusiasm for amateur music-making it was a great success, and one which should ensure the group a more worthy place in Exec's estimation.

The choice of he Handel Concerto (previously given a first review in these pages) was a most happy one. All the problems shown up in the music room were ironed out beautifully by the acoustics of the new theatre. The high woodwind were no longer piercing, the bass provided great richness and depth, and the balance between piano and orchestra was better than ever. Add to this the obvious fact of greater proficiency, control and confidence, and the total effect produced was a very favourable one indeed.

Alison Mahoney (soprano) provided a delightful miniature recital of three songs by Thomas Campion, with harpsichord accompaniment by a former student, Margaret O'Shea. This singer was as beautiful to look at as she was pleasing to listen to and her appealing stage personality and artistry were warmly applauded.

As a tribute to the Music Department's composer - lecturers, Margaret Neilsen played a Sonatina by David Farquhar, in the first half and a Piano Sonata by Douglas Lilburn in the second. Thanks to the perseverance of Robin Maconie in obtaining a piano, she was able to perform on a Steinway, and the fine tone she was able to draw from such a good instrument added greatly to the quality of the performances.

These were some of the highlights of a most rewarding evening's music; and a concert that raised the standards and hopes of the Music Society to a new level.

—M.B.