THE MICHIGAN DAILY

WEDNESDAY, JULY 2

THE MICHIGAN DAILY WEDNESDAY. JULY 2

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DIAL NO 2-6264

Museums Feature Douglas,
Early Musician Displays

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ENDING TONIGHT
of "DOG
of RANDERS"
DAVID
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THURSDAY
"HERCULES
UNCHAI NED"

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The papers of Andrew Law, an
early American composer, choir
director, and music publisher
(1749-1821), were a major acqui-
sition of the University's William
L. Clements Library this year,
Director Howard H. Peckham said.
Law's papers consisted of about
500 letters, 700 accounts and busi-
ness papers, 350 sheets of manu-
script music, and 350 pages of
personal memoranda.
"In addition we picked up a
dozen copies of his printed tune
books. The papers of any early
CAFE
PROMETH EAN
- 508 E. William ---
Wed. and Thurs.-Poetry
Fri. and Sat.-Folk songs
(50c door charge)
Sunday-JAZZ-9-12 p.m.
(75c door charge)
Open daily 8 p.m. to 2 a.m.

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eom LC JM E'S Classic Comedy
ame
starring LAURENCE HARV
in CINEMASCOPE and EASTMANCOLOR

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for Michigan Daily
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American composer are so scarce
that this collection is an impor-
tant acquisiton in the field," he
explained.
Also acquired was an important
addition of Anthony Wayne cor-
respondence covering his post-
Revolutionary career, and the
correspondence of Captain Abra-
ham Whipple of the Continental
Navy.
A further accession was a group
of 50 letters from Henry Lewis,
American artist. Lewis painted a
Mississippi River panorama in the
middle of the last century which
he exhibited in various cities and
towns.
The University's Historical Col-
lections is featuring an exhibit of
the papers of the famed minister-
novelist Lloyd Douglas.
In a 1947 letter, Douglas ob-
served that it takes about five
years for the average theological
graduate to unlearn all he was
taught about sermons and to learn
how to talk in layman terms.
The minister - novelist wrote:
"The first sermon I ever preached
was at Flat Rock, Id. It was, of
course, a very deep and scholarly
discourse that nobody in the Flat
Rock Church understood very well
and I am not sure I understood
it very well myself.
"My second sermon--that after-
noon at the Marquart church-
was much more of a success than
the Flat Rock, for I was ably as-
sisted by a baby. Smack in the
middle of my tiresome sermon,
one of the Marquarts-aged about
a year and a half-grew restless,
and its devoted young mother de-
cided that what junior wanted
was a drink. According to custom
there was a tall glass pitcher of
water standing on the pulpit with
a tumbler beside it.
"The dear girl resolved to avail
her child of this blessing. So she
brought her baby forward, reached
up for the pitcher and poured the
tumbler full, Then she stood for
a long time, happily watching her
son drink all he could hold, after
which he blew bubbles into the
water, giggling over his accomp-
lishment until the whole congre-
gation came awake and joined in
the merriment."

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Cromer.Su

U' Regents
For Hospital
An Ypsilanti Township man has
brought suit for over $1 million
against the University Regents- as
supervisors of University Hospital.
Melvin Cromer, acting as ad-
ministrator of the estate of his
late wife, Virginia, filed the suit
Monday in Washtenaw Circuit
Court.
Cromer charged that his wife
died April 28, 1960 as the result of
a spleen operation performed at
the hospital on Oct. 29, 1957. He
brought 10 counts of breach of
warranty and 10 points of breach
of duties against the defendants,
involving diagnosis, treatment and
care,of his wife.
The suit asks damages on two
counts of $513,304 each for pain
and suffering of Mrs. Cromer,
hospital and burial expenses and
the loss of future earnings and
support of the couple's child.
Mrs. Cromer was 24 years of age.
In his suit, Cromer alleged that
the defendants committed a breach
of warranty in that its agents and
employees did not possess the war-
ranted qualifications, to deal with
Mrs. Cromer's condition. He, said
that surgeons who performed the
operation were "only residents in
surgery."
The diagnosis, he said, did not
tike into account his wife's "posi-
tive evidence of a leukemic con-
dition." The spleen should not
have been removed and that the
removal was the "primary cause"
for his wife's death, he further
stated.
Ending Thursday


African Colonies Stay with Portugal)

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Cinem qNuil
PRESENTS

Although his portly carriage
now suggests an older man, Or-
son Welles, often termed the
most brilliant innovator of the
modern American film, was
born as recently as 1915. Per-
haps he has aged because he
never had a childhood in the
conventional sense. His inven-
tor father and musician mother
encouraged him to create rather
than to play, and from his early
years he was surrounded by the
eminent and gifted, who always
treated him as an adult. He
drew cartoons, wrote plays for
the puppet theater, dabbled in
prestidigitation; when he first
went to school, at 10, he had
read all of Shakespeare, includ-
ng the sonnets, and amused
himself with a critical analysis
of Also Sprach Zarathustra. A
year before, he had eloped for
the first time.
By 16, when he was a guest
star with the Abbey Players in
Dublin, his ambitions had defi-
niteley turned to the theatre.
Before he had left his teens, he
toured with Katherine Cornell
and then associated himself
with the producer John House-
man. Times were hard in the
early 1930's, and one of Welles'
more unusual ways of picking
up a dollar was his impersona-
tion of the voice of the sinister
Shadow, who knew all and saw
all. In 1935, when the Federal
Theater was launched, Welles'
talents were readily enlisted. A
production that significantly
showed his experimental bent
was the Macbeth with an all-
Negro cast and voodoo doctors
in place of the witches. After
launching Marc Bltzstein's
opera, The Cradle Will Rock,
a dreamy piece in which mili-
tant labor throttles the minions
of capitalism, Welles left the
WPA to found the Mercury
Theatre. The initial production
of Julius Caesar showed the
title character in a fascist uni-
form and Brutus as a shabby
intellectual.
CBS was sufficiently impress-
ed to sponsor the Mercury
Theater of the Air, with Welles
writing, editing, and directing
the sketches. The radio officials
did not know it, but they were
in for the most painful shock
in their history. They recog-
nized the forcefulness and the
originality of their 23-year-old
star: but a closer look would
have established that he had
highly unconventional tastes,
a contempt for tradition, and
not a little willingness to epater
les bourgeois.
Welles' alter ego, the Shadow,
must have suggested The War
of the Worlds for the Halloween
broadcast of 1938. The H. G.
Wells' novel was drastically re-
vised for its transformation in-
to a radio script. The landing
of the Martians was changed
from remote England to the
New Jersey countryside, Amer-
ican characters were freely in-
vented, and a background of
weather broadcasts, tango
bands, and unctuous announc-
ers gave the script an only too

already wiped out a 7,000 man
army with a death ray. All over
the nation telephone lines were
jammed, and the tidal wave of
terror, as the newspapers term-
ed it, mounted. College'students
called their parents and fran-
tically demanded to be rescued.
The head of Princeton's geology
department drove out to look
for the meteor. Members of the
state militia donned uniforms
and reported for duty. People
shivered and wept at street cor-
ners and would not believe the
police. Many had seen the
ghastly events. When all the
sedatives had finally been ad-
ministered, Welles was a na-
tional figure, though hardly a
national hero.
Hollywood remained to be
conquered, and Welles signed a
four-year contract with RKO.
He got a very poor press. He
was undoubtedly a brash young
man, stubbornly independent,
and critical of the regular
Hollywood procedures. Also, he
had grown a beard, which was
then an unheard-of taunt to
convention. Gene Lockhart
parodied him as Orson Annie,
who was trying all kinds of
changes since she had moved
into the house. (Al Capp about
this time introduced into Li
Abner a diabolical child genius
named Orson Waggon, had
written more symphonies than
Beethoven, knew everything,
and was capable of fiendish
cruelties.)
After two false starts, Welles
completed his first and most
famous film, using a cast from
the Mercury Theatre; it is
strange now to see the con-
temporary references to "un-
known" players like Joseph
Cotton,- Everett Sloane, Agnes
Moorehead, and George Cou-
luns. Rumors of boycotts and
lawsuits created an air of ex-
pectancy,' which was not dis-
sipated by Welles' threatening
legal action against the studio
to obtain the picture's release.
Citizen Kane (an odd title,
which seemed redolent of fu-
ture guillotines) presented very
obvious parallels between the
main character and William
Randolph Hearst, who never
did sue but whose press stead-
fastly refused to acknowledge
the film's existence.
The film opens moodily, with
the camera eye moving up a
forbidding fence, the repeating
patterns of which suggest chain
mail and convey a feeling of
forlorn enmeshment. Sur-
mounting the fence is a gigantic
wrought-Iron K. Within is the
castle where Citizen Kane is
dying; his last word is inex-
plicable: "Rosebud." The pass-
ing of such a wealthy and in-
fluential person calls for some
kind of statement; but the
March of Time, which wants
to deliver the verdict, feels that
the record is incomplete. They
send a reporter to dig up the
facts that will make a com-
mercially successful profile. The
film is a series of flashbacks,

he was accused of innovation
for the love of innovation. The
low - key photography, which
was dramatic from its impact
of subdued revolt, the floor
shots, the extreme contrast be-
tween light and dark suggest in
many ways the drama of Man-
nerist painting. Quite as ef-
fective is his use of sound, the
gabble of voices that cannot be
clearly distinguished, an ex-
pressionistic command that
makes the common resources of
realism seem timid and falter-
ing. Bernard Hermann's score
helps; but it is Gregg Toland's
photography (he had previous-
ly done The Informer, The Long
Voyage Home, and The Grapes
of Wrath) that received its de-
served due in equal screen
credits with Welles. He made
few closeups; and he always
used lighting to enhance the
dramatic value of the scene
rather than the actor. What
could be better, in cinematic
terms, than the opera scenes?
The first of which, presented
by a dry cynical reporter shows
the event as it appeared to the
bored audience (except for
Kane); the second of which
conveys horribly the experience
of the untalented girl who was
his second wife and who was
forced to undergo the conse-
quences of her husband's ego-
tism.
We will say no more about
Citizen Kane except to suggest
that "Rosebud" which he held
under his thighs unthinkingly,
was obviously what he loved
most; it could never complain
or make him feel guilty. Burned
up in an accumulation of trash,
it represents the kind of com-
mitment that any of us is al-
ways willing to make to his
egotism.
Of Welles' subsequent career
in Hollywood, reasons of space
in a paid ad, oblige an abridge-
ment. His second film, The
Magnificent Ambersons, is if
anything, richer than Citizen
Kane, certainly more immedi-
ately moving, but is marred by
a falsely optimistic ending.
American critics were increas-
ingly captious about his Mac-
beth, Othello, and Jane Eyre;
but in Europe he was, and still
is, regarded as a master. Mid-
dle-class audiences, who resent
confronting anything that chal-
lenges their comfortable, es-
tablished values, dismiss him
without regret.*
Cinema Guild's short subject
this week deserves a line or two.
The Great Train Robbery has
been called the first real at-
tempt to tell a story on film,
in 1903. It is even said to have
insured the permanence of the
movies. Be that as it may, Ed-
win Porter's career is the most
interesting to survey of any of
the pioneers before Griffith;
and for those interested in it
there is a fine chapter in Lewis
Jacobs' The Rise of the Ameri-
can Film. The audiences who
will see this first of American
narrative films should not con-
descend too much. It's still a

By PRESTON GROVER
Associated Press Newsfeatures Writer
LISBON - Portugal considers
itself about the biggest African
nation in Europe.
"Tucked away down here in a
corner of Europe we are nothing,"
a Portuguese editor said, "but our
strength lies in the part of Portu-
gal which is in Africa."
It's often overlooked, but Portu-
gal has, and expects to hold, two
of the largest chunks of empire
in the world - Angola on the At-
lantic side of Africa and Mozam-
bique on the Indian Ocean side of
the African continent.
Both are big, rich, largely un-
developed, and vastly underpopu-
lated, either by blacks or whites.
And so far, neither one had
seriously kicked up its heels in
pursuit of the goals of independ-
ence so dear suddenly to many
other African colonies.

Why is this?
The Portuguese have their an-
swer for it. When you get down in
those colonies you can hardly tell
a European Portuguese from an
African Portuguese.
"We started intermarrying with
the people in the lands we dis-
covered nearly 500 years ago," the
editor said.
To a degree it is still going'on.
Many foreigners who have been
through Africa marvel at the quiet
of the Portuguese colonies, and
predict that sooner or later the
same risings that have brought in-
dependence or near independence
to many of the British, French
and Belgian holdings down there
will infect the Portuguese terri-
tory.
Peaceful Facade
In Lisbon you hear nothing
about troubles in Africa, but from
outside come reports that harsh
repression is already being em-
ployed to keep the peace. Portu-
guese officials deny it and print
nothing about it.
However, a number of people,
whites and black, have been ar-
rested in Angola and are facing
trial for what the Portuguese call
subversive activities.
Reports on what happens are
vague because there is censorship
in the colonies and few reporters
get in. Visas are required for the
colonies, although not for Portu-
gal.

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AFRICAN FILMS
AFRICAN VIEW: An Account of a Journey
from the Cape to Cairo
Photographed and narrated by
DOUGLAS D. CRARY, Department of Geography
THE HUNTERS: The Story of the
Bushmen of the Kalihari Desert
THURSDAY, JULY 21, 7:00 P.M.

Loss of these colonies would
mean not only the end of a great
epoch for Portugal but the begin-
ning of a very tough and difficult
one. Without its colonies, Portugal
faces prolonged poverty and little
future.
Poor Portugal
With the exception perhaps of
Spain, other countries of Europe
have forged ahead of the Portu-
guese in industry and trade. Bel-
gium, with approximately the same
population, is incomparably rich-
er. Part of the reason is resources.
Portugal's land is poor and it has
neither coal nor iron.
Portugal has proudly refused
much outside advice, but now is
beginning to accept outside capital.
Some Portuguese blame the
money-tight policies ofstern dic-
tator Oliveiro Salazar for putting
brakes on the economy, but he
replies that without his austere
controls the money itself would
be jeopardized.
To Export People
Among Portugal's future pro-
jects are exports of people to the
African colonies. Whole families
are being sent down to new valleys
being opened up both on the At-
lantic and Indian Ocean sides.
Portugal is increasing population
at home by about 100,000 a year,
and expects 40,000 to find homes
abroad each year. Many go to
South America and become a
source of revenue, for they send
remitances home to relatives.
But half of the 40,000 Portu-
guese for export will go to the
colonies if they can be persuaded
to face the rigors of life in a new
and perhaps troubled country.
They will get travel expenses,
land, a few cows and a small bank
account to start with.
There is a peculiar confidence
among officials of the country and
among the leaders in the com-
munity that somehow things are
I going to come out all right.
It is hard to know whether they
are right or dreaming.

Natural Science Auditorium

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OPENING TONIGHT!
William Shakespeare's gay pastoral,
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