A Compromise The catchwords of the preliminary in Vietnam. negotiations between the United States The essence of negotiation is corn and North Vietnam are patience and promise. As long as the United States compromise. )k.ll members of both dele- and the Communists veil their true gations must realize from the outset that goals in abstract principles, no compro the war cannot be won by either side, mise is possible. either on the the battlefield or at the Hanoi has set as the first topic for conference table. discussion the "unconditional" cessation The fact that the two antagonists are holding negotiations is a tacit admis sion that the war is a military stalemate and must be settled at' the conference table if it can be settled at all. Yet the North Vietnamese Foreirin withdrawal of U.S. troops to defensive r Minister, Xuan Thuy, who will lead Ho positions. Chi Minh's delegation, spoke last week When and if talks begin with the of giving the United States a "judo les- specific goal of establishing a lasting son" in Paris, meaning that he will try to peace, the two sides must again compro catch the U.S. delegates off-balance and mise. The most important questions to be then force a concession. settled are the eventual withdrawal of The North Vietnamese press per- both U.S. and North Vietnamese troops sists in telling its readers that the halt ment of a viable, representative govern from South Vietnam and the establish in the bombing of the North and the sub- ment in Saigon. sequent negotiations mean that the . This means that the South Vietna- United States and its South Vietnamese mese government must participate in the "lackeys" have finally and inevitably Paris talks whether it wants to or been "defeated," and that the Paris not and must agree to the eventual conference precludes an end to American forming of a coalition government. The "imperialism." . National Liberation Front represents United States officials, in turn, hope several million South Vietnamese peo that the Communists will finally admit ple. The Viet Cong will never stop fight their "mistake" and will stop their "aging unless they are, given a voice in any gression" in the South. U.S. military of- future government. ficials in South Vietnam insist on pre- Generals Thieu and Ky refuse to dicting ultimate "victory" for the allies. consider a coalition with the communists. Westmoreland still envisions victory They dragged Truong Dinh Dzu, the around that bloody corner of his. peace candidate in last year's elections, If both sides enter into negotiations out of a Saigon hospital bed last week with this attitude, the chances for peace and carted him off to jail for just men in the near future are remote. If the tioning the idea in public. talks degenerate into useless rhetoric If Thieu and Ky succeed in hamper about "aggression," "imperialism," and ing peace talks and thus prolonging the "victory." both the North Vietnamese war, the United States may have to take and Americans will leave Paris in a huff, drastic action to change their minds. and our grandchildren may be fighting —M.S.S. 01le Bang Tollattan Published Tuesday through Saturday during the Fall, Winter and Spring Terms, and Thursday during The Summer Term, by students of The Pennsylvania State University. Second class postage paid at State College, Pa. 16601. - Circulation: 12400. Mail Subscription Price: 48.50 a year Mailing Address Box 867, State College, Pa. 16801 Editorial and Business Office Basement of Sackett (North End) EEM!!MMMMM PAUL J. LEVINE Editor William Epstein Michael S. 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PAGE TWO , , , .:......,%...;...... ' p-ic• --5- 7, z ' "'', We pc' 4064 g:o>id ... ? Mi t ' 1 00fil. (-42/data 49) NITTANY MALL . Mother's Day, Sunday, May lit ..„:, STATE COLLEGE • BELLEFONTE \ ' l % ' ----- .• i ` - ' 4l i ....,. C:'%•> 4 67 4 ;,,,,7 ~,,,,,,_,.•,---';' • ' :'`:'':› - • ' • l:4:ir '4l Also available: "Rosemarie", with swirled edge, , • ." 0 ""f' '''%,, -, t-tra .3. 4 ',, ', ' '''' ''' ,: and tiny pink rose buds with platinum trim, 5 -Pc. '''''''-‘ .'- ;V" - ...7--- , _,/ •" '' ' -' •--- - - L- , - , " - --' "'• lace setting, $B. wrer- , - ~. . I _ 4 4 ...4.t,,,.,,„ ;;; ; ;.;:f , Collegian Ads . Bring Results Editorial Opinion of bombing and other acts of war. The U.S. delegation must convince Xuan Thuy that the United States must pro vide air cover for its troops. A possible compromise on the issue might involve Successor to he Free Lance, est. 1887 62 Years of Editorial Freedom Member of The Associated Press .<i63o-‘ r, ~,~ ,~~h CHOOSE IT-CHARGE IT :lks:7.:, . 't . Shown is "Continental" and "Golden Charm" with gold it band around edge of bowl. Both available in goblet, sherbet, SHOP MONDAY THRU SATURDAY 10 A.M. TO 9:30 P.M WILL/AM FOWLER Business Manager THURSDAY, MAY 9, 1968 DINNERWARE OF ETERNAL BEAUTY WITH FINE TRANSLUCENT WHITE BODY Shown is "Golden Laurel" with gold band, 5-pc place setting, $2l. "Golden Chantilly" with florentine scroll pattern in rich coin gold, 5-pc. place setting, $22. BEAUTIFUL, FINE CRYSTAL FROM GERMANY and claret/w i ne. Continental $2.25 per stem Golden Charm $3 . per stem S UPI BERRY © 1968 by NEA, Inc "Shhh--hold on—it might be that Rocky's dropping out again!" Papers Requests Faculty Writers University faculty are in viteu to submit articles to Col legian's "Faculty Forum." Columns of opinion from all merr bers of the faculty are welcome. The articles Should be type written and triple-spaced and should not exceed 75 lines in length. Interested t a cult y should bring their articles to Collegian office, 20 Sackett Building. WELL, HELLO! DID YOU LEAVE YOUR PITCHER'S MOUND AND COME CLEAR OUT HERE TO CENTER FIELD JUST TO TALK TO ME • g orat. " lll it) '4. j ' IL .4- • Letter Policy The Daily Collegian wel comes comments on news coverage, editorial pone y, and campus or nor-campus affairs. Letters must be type written, double-spaced, signed by no more than two persons, and no longer than 30 lines. They should be brought to the Collegian office in person so that proper identification of the writer can be made. If letters are received by mail, the Collegian will contact the signer for verification. The Collegian editors reserve the right to fairly select, edit, and condense all letters. ALL RIG 4T TAKE IT EASE(... I'LL 60 OUT AND 'TALK TO HER.. I DIDN'T KNOW 'THE OFFICERS MINGLED WITH TIE ENLISTED MEN'. 13sedcizzled'frie - ier.o±4-:,:;: `Stranger' Dedicated.. By PAUL SEYDOR Collegian Movie Critic "Bedazzled," now at the Cinema 11, is the most delightfully irreverent comedy since "The Loved One." For scriptwriter Peter Cook and director Stanley Donen ("Arabesque" and "Charade") nothing is sacred in this modern translation of the Faust legend. The most memorable thingS are a hil arious spoof of Julie Andrews' Mary Poppins, a side-splitting show of the devil's mischief, and a pungent ly blasphemoi description God and Heave] (Asked what it like up then the devil al swers, "We jtv used to si around all. df and adore Him. The endin of the film, b: contrast with th sophisticated ht mor that pri cedes it, is disai. pointingly corny. The scriptwriter too easily, and rather sententiously extricates the sympa thetic hero from his plight. But never mind; that is a minor flaw in an otherwise riotous tour-de-force of sardonic spoofing. A brief afterthought—not everyone will appreciate this parody at the expense of religion. After I remarked to one Penn State miss that I found the film quite funny, she replied, "You did? I thought it was the queerest, vulgirest thing I've ever seen!" Admittedly there is a tasteless scene that flirts with lesbianism in a nunnery. Aside from that, however, "Bedazzled" is beyond reproach and pricelessly wicked. Besides, Stanley Donen finally manages something that has eluded any other director. That is, he puts Raquel Welch to good use. Her portrayal of Lust is a knock-out. Albert 'Camus's "The Stranger" is given a superb and dedicated screen realization by the director-scriptwriter Luchino Visconti in his new film of the same title, now at the Cathaum through tonight. The story is about a Frenchman, Meur sault, for whom the world is meaningless, absurd. He finds authenticity only in the daily rituals of his job and of his evening meals at a cheap cafe. Reality is the cigarette he smokes at the moment, the coffee he drinks, the girl to whom he makes love. He does nothing more than accept the world as he sees it, allowing it to move him along whatever course it chooses. Eventually it begins to close in on him, squeezing him in a stifling grip that ulti mately forces him to commit an apparently motiveless and senseless murder. And, of course, for - him the act is senseless, because there can be no sense in an absurd world. He kiln the man because "the sun was too hot," becailse at, that moment the world offered nothing else. 4 v.,. Film Critique" SEYDOR 'The Stranger' By paying careful attention to the com position of scenes, Visconti skillfully sug gests Meursault's claustrophobic world. At one point, for example, there is a shot of the sky bordered on the left and right:of the screen by rows of trees. Several times the camera catches Meursault standing in a doorway, hemmed in by the railings of his balcony, peering through the banisters of the stairway leading to his room, completely en gulfed by a malevolent darkness. These im ages also serve to indicate his alienation from other persons, thus, the double bars separating him frorri Marie at the prison. Visconti remains faithful to Camus's novel almost to the letter. Virtually every thing from the poignant old man and his diseased dog to Meursault's pimp-friend to the ineffectual priest is preserved intact with the power and force of the book. There is only one major change, which is in struc ture. Interrogation Scene Visconti opens the film with Meursault's interrogation. Visconti then cuts to the novel's beginning, making everything that leads up to the murder and the crime itself a long flashback. This change allows Vis conti to use close-up shots to point out the little things which Meursault recalls with. pleasure and which are real to him. When. we first encounter Marie, for instance, the camera zooms in for a close-up as 'her hair blows across her face, anticipating Meur sault's reply to the priest, "All your cer tainties aren't worth one strand of girls' hair!" Though•the film is very low-key through out and its pace is slow and deliberate, Vis conti avoids tediousness (even as he sug gests it in Meursault's life) by varying the dynamics of his direction. The photography, for instance, momentarily blurs as Meur sault awakes on Sunday, the most difficult day for him to get through (because, of course, his rituals are broken). Builds, Relieves Tension When Meursault is especially aware of his threatening world, Visconti builds the tension by focusing on dirty walls of rooms, glaring lights, and sharp contrasts of light and dark. When Meursault is more at ease— as in the love scenes with Marie—the camera relieves the tension by dissolving the enclo sure business, softening the contrasts, and slightly blurring, thereby mellowing, the photography. Not everything in the film is on an equal plane of excellence. The trial drags on too long, as Visconti goes a bit haywire in a hodge-podge of zoom and pan shots. There is some clumsy editing. The English dubbing is often far out of ' time with the spoken French. But these flaws are lost in the magnitude of this film's achievement. Aided by a fine cast, notably Marcello Mastroianni in a deft ly under-played lead performance, Visconti has succeeded in brilliantly evoking the pe culiar kind of existential world that Meur sault makes for himself: a world seen,thrOugh an open door, a window, the bars of a pris on—the metaphor of his life.
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