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Vengeance for Lumumba
Everybody's Listenin' to
THE "NOON SHOW"
Ti
World News
Roundup'
12-1 . . . Monday-Friday
11
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PAID ADVERTISEMENT
il
GENEVA P)-The International
Commission of Jurists asked Pres-
ident Moise Tshombe of Katanga
yesterday to be allowed to conduct
an impartial inquiry into Patrice
Lumumba's death.
The commission, representing
39,000 judges, lawyers and law
professors in 62 countries, cabled
Tshombe it was deeply concerned
by the circumstances of Lumum-
ba's death and considers essential
a thorough investigation of a legal
nature by a highly qualified in-
ternational committee.
ACCRA (IP) - Ghana yesterday
recognized the Lumumbist Congo
government of Antoine Gizenga at
Stanleyville and ordered all Bel-
gians to leave this country by Fri-
day afternoon.
It is estimated there are fewer
than 20 Belgians left in Ghana.
Ghana's president Kwame Nkru-
mah already had recognized the
regime of the slain ex-premier
Patrice Lumumba and now don-
tends that Gizenga, Lumumba's
former vice premier, is the sole
authority in the Congo.
CHALLENGE
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Meeting
9*Fri., Feb. 17,
Thursday and Friday:
UMBERTO D
Saturday and Sunday:
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-AP Wirephoto
EGYPTIAN RIOT -- A Cairo mob attacks the Belgian Embassy.
Katanga Leader Tshombe
Appears To Favor Alliance
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By ADRIAN PORTER
Associated Press Feature Writer
ELISABETHVILLE - Moscow
wants him arrested as a puppet of1
Belgium, and tried for murder in
the death of former Congo Premier
Patrice Lumumba ...
He heads the Congo's richest
province, but part of his territory
has slipped away ... .
He scoffs at United Nations
moves and says his foes want a
Communist Congo . . .
He works cooperatively with1
Belgians, remnants of colonial
day..
This is Moise Tshombe, presi-
dent of Katanga and a storm cen-
ter in the international contro-
versy sparked by Lumumba's
death.
Not Easy Going
What is called the "independent
state" of Katanga may seem at
times to be smugly indifferent to
what is going on elsewhere, but
under the surface all is not smooth
here.,
What happens west of here must
affect Katanga, even though it
has unilaterally seceded.-Tshombe'
fought for a long time to keep
United Nations troops from com-
ing into Katanga. Now they are
here and they serve as a reminder
that the Congo's problems are also
Katanga's.
Today Tshombe appears to be
trying to weld an anti-Communist
alliance in the southern Congo
that eventually might control the
chaotic nation.
Isolate Provinces
His moves suggest an aim to iso-
late Kivu and Oriental provinces,
held by Lumumba followers, with
the eventual hope that they would
disintegrate in economic chaos.
Political, military and economic
links have been formed in recent
weeks with President Joseph Kasa-
vubu's regime in Leopoldville, with
Maj. Gen. Joseph Mobutu's forces
and with Tshombe's old ally Al-
bert Kalondji in southern Kasai.
There is little doubt Tshombe
wants to be top man in these al-
liances. He keeps aloof from any
arrangements that might leave
him in an inferior position. Ts-
hombe has held the idea since in-
dependence that he would emerge
as top Congo leader.
But today Tshombe is busy try-
ing to hold what he has in Katan-
ga. His army has been fighting
Baluba rebels for more than five
months and Lumumbist troops are
camped in Manono, 400 miles from
Elisabethville.
Politically Tshombe is reason-
ably strong, militarily he is hold-
ing his own.
Economic experts in Elisabeth-
ville say Katanga, with a popula-
tion of about 1,200,000, has a na-
tional income of around $980 mil-
lion.
. 4:15
* 3-C,
Vittorio de Sica, one of the
foremost directors of our time,
came to prominence after World
War II as one of the Italian
neo-realists. There were many
who felt that Sciuscia, the story
of two waifs committed to re-
form school as victims of the
Black Market, had more real
humanity than the then more
touted films of Rossellini, with
their obvious political commit-
ments. De Sica's position, as
the artist concerned with suf-
fering in society, was brilliant-
ly reaffirmed by Bicycle Thief,
an arraignment of existing con-
ditions more, telling than Ros-
sellini's skillful punching of
the political bag. Without due
straining it might be said that
De Sica was the Camus, Ros-
sellini the Sartre of the Italian
cinema.
Umberto D, de Sica's best
film since Bicycle Thief, makes
no claim to solving problems;
it is an unabashed study of
loneliness, loneliness of a unique
kind, the tragedy of old age,
when the world has somehow
greatly shrunk; one is no long-
er welcome, and achievement
is impossible. Under these cir-
cumstances, maintaining dig-
nity is hard enough; but to try
to realize love is to court dis-
aster.
Few actors are more deserv-
ing of critical investigation
than Alec Guinness. Unfortu-
nately, many consider him a
"sacred cow" that is to be re-
vered, but not analyzed. This
is a most puzzling attitude to
anyone who recognizes that
there are not many actors who
can survive a probing examina-
tion of their acting abilities as
successfully as Guinness.
Union
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the finest comic characters and
situations that have appeared
in film history.
However, when we consider
Guinness' more recent expedi-
tions into serious film drama,
we are disturbed by a feeling
that something is lacking In
Guinness' art. For some reason,
his characterizations never fuil,-
ly come alive. They fail to con-
vey that warmth and depth of
human feeling which makes a
good dramatic characterization
a great one. In The Prisoner,
for instance, Guinness played
a Cardinal Mindzenty-type
role. On the surface, the Card-
nal is meant to be a highly con-
trolled and dignified individual,
lacking real compassion, hiding,
behind facile intellectual de-
fenses. This Guinness captured
superbly. But when the Cardi-
nal is finally broken by the
ruthless brain-washing tech-
niques of the Communist In-
quisitor, when he has been
stripped of his defenses and his
human frailties have been ex-
posed, Guinness is unable to
convey the depth of suffering
and give a life-likeness to the
human misery which arises
from this revelation of sin and
weakness. The character re-
mains an actor, an animated
puppet, not a human being.
This deficiency Is made even
more apparent by Jack Haw-
kins' brilliant and living por-
trayal of the complex Inquisi-
tor who is caught between in-
human duty and his own deeply
felt compassion for his victim.
In The Bridge on the River
Kwai, Guinness did a splendid
Job as the captured British of-
ficer whose defiance andknow-
how eventually yoke his cap-
tors. But in the final scene,
when he is suddenly made con-
scious of what his bridge-mania
has cost, Guinness' acting does
not fully realize the self-rec-
ognition and tragic illumina-
tion that "Oh God! What have
I done?" is meant to convey.
If we compare Guinness' char-
acterization with Sessue Haya-
kawa's portrayal of the Jap-
anese Officer whose honor and
dreams of being an artist have
been destroyed by these men
who have taken over the build-
ing of his bridge, we automati-
calfy sense the warmth and
depth of feeling that Guinness
fails to convey.
Finally, what to this reviewer
is Guinness' most significant
failure-his portrayal of Gul-
ley Jimson in The Horse's
Mouth. Jimson, a rebel with a
passion for painting, a selfish
old man with a beautiful way
of looking at life, a grump who
underneath is one of the most
lovable and humane of persons,
becomes merely a colorful, man-
nered, queer old painter in
Guinness' hands.
2 00
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Pair
gn /a.[A
306 S. State 9:00-5:30
Guinness' early roles were
primarily caricatures or bit
parts. In Oliver Twist, he was
the shaggy and hook-nosed
Fagan; in Great Expectations,
he was Pip's semi-sophisticated
and lighthearted roommate;
and in Kind Hearts and Coro-
nets, a Guinness tour de force,
he played a half-dozen differ-
ent roles including a balloon-
riding suffragette. In each of
these roles, Guinness suppressed
his own personality in order to
become the character. For each
new role, he created a new set
of features and. mannerisms,
while successfully discarding
those mannerisms which iden-
tified him with earlier roles. Al-
ways his aim seemed to be to
effect this change from Guin-
ness to not-Guinness. This, in
itself, is a remarkably difficult
task. When faced with the cold
and unsympathetic eye of the
camera which mechanically re-
veals any hocus-pocus and
magnifies inconsistency of char-,
acter, only a master of these
-techniques can escape exposure.
Guinness' great technical skill
and self-mastery not only
avoided these hazards, they
achieved for him his goal of
self-suppression. Thus, his ear-
ly roles, which are more carica-
tures than real characteriza-
ions, were invariably success-
ful.
I
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£an z CoteJt
GIRLS, win a 6 weeks trip to Los Angeles
and many other prizes by competing
in a Lanz contest.
Is this an insurmountable de-
fect in Guinness' abilities as an
actor? Maybe, but it is still too
early for conclusions. One ex-
planation for the failure might
be the stress Guinness has al-
ways given to the principle o:
suppressing his own personal-
ity. In his recent mo~vies, even
though he has broadened thi
outlines of his characteriza-
tions, he seldom slips outsidi
these self-imposed bounds. Is
it possible that, this careful
planning and tight control have
also, suppressed that natura
warmth and genuine feeling
which is essential for a livini
Pick up your entry blank at once.
Contest closes on March 31, 1961
SEE OUR LANZ WINDOW
In what might be called Gum-
ness' middle film period, he
broadened his comic carica-
tures and gave them a richness
his earlier roles had not pos-
sessed. Though he moved more
and more toward true charac-
terization, he never fully aban-
doned riatue. -is desire to
If
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