Indianapolis Times, Indianapolis, Marion County, 10 November 1949 — Page 20

“Double Review— Cr, Music Program

Bold, Alive

Ensemble Society Offering" Fingles Listeners’ Nerves

By Henry Butler Last night’ s Ensemble Music Society program in World War Memorial auditorium was really exciting. - Stepping boldly out of the customary Haydn- -Mozarts! Beethiven-Brahms lockstep, the Hungarian Quartet, the society's evening guests, tingled listeners’ nerves with Bela Bartok’s Quartet No. 4. There's an ear-opener thel cl ol elt vou away from | like of which you seldom hear addiction to ied classics. |

80 is the fourth movement, on the society's staid pro- |, wallegretto pizzicato,” which could]

grams. and should be arranged for string It's alive. It's not always orchestra, hellishly difficult pretty. In fact, it's ruggedly though it is. : ity attacks Hungarians at Best shocking An some. of 14 " Though I missed Haydn's

on commonplace listening habits, “Lark” quartet, which started the But the bold vitality of it is stim- program, I'll venture to. say the ulating. And the late great com- visiting Hungarians did some of poser’s determination to not Jus pout worn © in the Bariok merely please, if I may split an Zaltan ky a or infinitive the way Bartok split ro ag Koromzay, viola, and Mr. conventional harmony, is SOMe pyiniai cello, all had important | thing to admire. and terribly difficult assignments Shocks the Fars in the Bartok quartet. They One thing that bothers listeners played the piece with finesse, subfs the polvtonality, whereby Bar- tlety and great understanding. tok has his instruments plaving A slight mix-up in advance corsimultaneously in different keys. respondence brought a last-min-This business shocks the ears just ute program change from the as falls worn with swimming Cesar Franck D major Quartet tn shorts would shock the eyes. You Beethoven's C major (“Rasoum-’ don’t expect it. It just ain't done. Ooveky’') Quartet, 5% No. 3, But Bartok .does it. What's after the Bartok : more, he does it with great ar- After the Bartok, it wouldn't tistry. He's a master of counter- have made any difference to me point. He. starts maybe viola. or. if they'd played “Holiday. for second fiddle on a bit of business, Strings.” carefully contrived and, by the What I want to hear again is Hungarian Quartet, beautifully the Bartok, by the same wonderplayed. An answer follows on an- ful outfit.

Op.

Rose La Rose, No. | stripper |

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Clock

“Duleimer Street,” With Richard #tienberough and Alastair Sim, af p ESQUIRE Pamiet" . LTD Laurence Olivier, . at y apd 3 "votaxa. veryhiMy Dees IL.” with Linds Payl Bousias and ‘Celeste Holm at IL 150. 440, 7:00 and

“Project X.” with Keith Andes and Rita Colton. at 12:45. 3:35 6.25 n

: d 9:18 KEITH'S Yellow Ribbon."

“Seal Island.” by Walt Disney, at 11:20. 2. _. oa ng 9:30.

with Mickey A Pfomusy elt and Mary Hutenet, AU 11, 2:42, 6.24 and 10.06 “Impact.” with Brian Donievy and la Raines, at 12:32, 4:14 and 7:56 LYRIC Ted Mack's Amateur 12°48 3:36. 6:28 and $12 “Reoughshod.” with Robert 8! erling ana Sohn ' and, at 11. 1:48, 4.36 7:24 and 10:12

Show, . at

THURSDAY, NOV. 10, 1049

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Last Times ay at

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FRED MaeMURRAY- HENRY FONDA “Trail 5: Lonesome Pine”

(In Glorious Technicolor)

other instrument, also .carefully| “yn

written. Maybe the answer is In “LOST BOUNDARIES,” the a different key, and maybe you Louls de Rochemont race-probiem get passages of ear-blur, like bad. film opening today at the Circle, glasses eye-blur. Maybe you get is something no person with conthe shudders. Maybe Bartok .n- Science will want to miss. tended you should. : Publicity says it's full of dynaThe two: movements most con !mite, That statement is typical

lof publicity concocters. In this tu t \ inia) 0 ungoe Aistated 44 3 prob] instance, the statement is in bad

hat “non tro lento” third taste. The film carries itself with movement, i ” magnificent Sreat dignity. and has no need for

1 1 1 P : is screaming adjectives. soo By Saat "Vion alow The in already is nationally

——— | known. It was known even be- \ Hore the filming. It's the real-life {story of a Negro physician and’ eo his wifé who, both being very (light, “passed” as white in a New England community. It’s difffeult to review a film of {this sort without doing long edi{torializing. Books are being written on the subject. People are fhinking about it, having meet-] ings and passing resolutions. On Ethical Level

I personally will begin to beilleve some good is being accomplished when certain absurd ‘local discriminatory practices cease ‘J Example: The downtown hash-| / house deal, whereby Negroes may {buy sandwiches and 10-cent con|tainers of five-cent coftee to consume outside in cold alleys. I won't go any further in the. editorializing. The. whole problem is grimly clear to Negroes. It's A180 & constant pain to honést whites who have any kind of lethical sense. {| - “Lost Boundaries,” even more {than “Home of the Brave. puts {the problem right on the ethical [and religious level, where it belongs. The final sermon scene, {with the Rev. Robert H. Dunn. , rector of St. John's Church in. ' ‘Portsmouth, N. H, playing the film minister's role, should move. people as they need to be moved. “Lost Boundaries” shows that Hollywood can reach the level of

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