Q.E. THEATRE SATURDAY, FEBRUARY 3 at 8 p.m. Bulgarian Nationa FOWn ENSembe $7.50 — 6.00 — 5.00 Q.E. THEATRE FRIDAY, FEBRUARY 16 at 8 p.m. ‘ Hungarian Gypsy Ensemble Gas 35 MUSICIANS, DANCERS & SINGERS $7. 50 — 6.00 — 5.00 Q.E. THEATRE TUES., WED., MARCH 6-7 at 8 p.m. COLUMBIA ARTISTS presents FESTIVAL. of RUSSIAN DANCE A KALEIDOSCOPE OF DANCERS FROM THE REPUBLICS OF THE SOVIET UNION BYELORUSSIA, GEORGIA, LITHUANIA, MOLDAVIA, RUSSIA, UKRAINE and UZBEKISTAN. COMPANY OF 90 $9.00 — 7.50 — 6.50 Tickets at all Bay Box Offices Downtown, Logheed, Surrey, Richmond, Champlain Mail and Park Royal Charge to your Bay account PHONE RESERVATIONS 681-3351 OPEN DAILY 10-5:30 SORRY NO CHEQUES PACIFIC TRIBUNE—JANUARY 26,:1979—Page 6 the events, the British people and the rest of the world are now able to learn what British leaders were pro- posing as policy while the cold war was taking shape in the year 1948. The revelations are contained in cabinet papers of the British Labor government of the time that have been made public under the 30-year rule of’secrecy that conceals official records for such a period. One of the most illuminating of the times is a private proposal that was made .to the British and American governments by Winston Churchill, then leader of the Tory Party in opposition in the British parliament. In April 1948, Chur- chill called for the launching of a nuclear war against the Soviet Union before Soviet acquisition of an atomic bomb could be attained. One of the recommendations by Churchill, who had earlier set the tone for the cold war with his ‘‘Iron Curtain’? speech in Fulton, Missouri, was that the U.S. and Bri- tain should force the ‘‘Soviet Union to get out of Berlin and eastern Ger- many’? under threat of having Soviet cities ‘‘razed’’ by nuclear at- tack. Churchill said that he couldn’t get out of his mind the fact that there‘was only likely to be a limited time when the atom bomb would ne ‘in safe hands’’. The Churchill war-cry came two months before the Berlin crisis ‘came to a head with a Soviet blockade of the British-U.S. oc- cupied part of the city. His proposal was turned down by both the Atlee and Truman governments as full of ‘*practical infirmities,’’ as U.S. am- bassador to Britain Lewis Douglas phrased it. If the U.S. and Britain hesitated . to go to war against the Soviet Union at this time it was due to the political inexpediency of having un- willing populations. As the British cabinet papers make plain, much of Atlee’s cabinet’s time was taken up with raising the ‘*Communist threat’? and with eliminating the “Communist influence’? at home and abroad. Throughout 1948, this line was pursued increasingly by Ernest Bevin, the right-wing Labor foreign secretary, who ‘submitted one memorandum after another warn- ing that ‘“Communism is. on the march,”’ and that something must be done to stop it. When the Czechoslovak working class took power in March 1948, Bevin and his advisors in the foreign office composed a memorandum entitled ‘*The Threat to. Western Civilization.’’. which 1948 British cabinet papers | document cold war policies LONDON — Thirty years after ‘ was seriously discussed in | cabinet. It proclaimed that “ all the efforts that have been I and the appeasement we followed... .not only is the 50 government not prepared cooperate in any real sense with® anti-Communists but is actl! preparing to extend its hold ovel® remaining part of Continél Europe, and subsequently oveét Middle East and no doubt ovet bulk of the Far East as well.’” Having set forth this prosp* Bevin announced that unless, U.S. and Britain took immed “positive and vigorous steps it ™ well be that within the next ! months or even weeks the SO Union will gain political -strategical advantages which wil the great Communist machine if tion leading either to the establh ment of a world dictatorship (more probably) to the collapst the organized society over - stretches of the globe.” Bevin’s memorandum includ# proposal for a Western Europ military pact. His other papers> mitted during, the year show progress of this step, which resu! in the formal establishment of North Atlantic Treaty Alliane April 1949. —William Pome The best of the new Cuban cinema comes to Vancouver for the first time February | as Van- couver’s Pacific Cinematheque oOpens-a week-long festival. Although Cuban film art is young by international stan- dards — the Cuban Film In- stitute was only launched after the revolution — it has already achieved considerable world ac- claim. Tomas Alea’s The Last Supper (see review below) won the grand prize at the Chicago International Film Festival and El Brigadista by Octavio Cor- tazar was awarded the silver bear at the Berlin International Film Festival. Manuel Perez’ Rio Negro, a film which dramatizes the im- pact of personal antagonisms during revolutionary struggle, won the special jury prize at the prestigious Moscow Interna- tional Film Festival in 1977. ~ Spanish with English subtitles, will be shown twice throughout the week at the Robson Square Cinema at Robson and Georgia, p.m.; Feb. 3, 9:30 p.m? The Man From Maisinicu. A political thriller involving in- trigue and espionage in the early years of the Cuban revolution. Feb. 1, 9:30 p.m.; Feb. 3, 7 p.m> Giron. The drama of the Bay of Pigs invasion and the tense 72 hours that followed the landing of U.S. mercenaries. Feb. 2, 7 - p.m.; Feb. 8, 9:30 p.m. El Brigadista. The experiences of a young teacher in the remote Cuban countryside and his en- counters with the people. Feb. 2, 9:30 p.m., Feb. 10, 7 p.m. El Rancheador. An historical drama set against the background of slavery in the . Americas and based on the diaries of Francisco Estvez, a Slave hunter. Feb. 7, 7 p.m.; Feb. 9, 9:30 p.m. . _ Rio Negro. Feb. 7, 9:30 p.m.; Feb. 9.97: pom. a Adventures of Juan Quin Quin. A comedy set in pre- revolutionary Cuba. Feb. 8, 7 Cras Feb. 10, 9:30 p.m. The seven films, which are in - The Last Supper. Feb. 1, 7 — ~~ Cuban films here Feb. 1 to 10 | ‘A scene from the Cuban Film Institute’s Brodubtion of The Ma from Maisinicu. Tomas Alea’s vivid arr highlights cinema festival The time is Holy Week in Cuba during the last years of the 18th century, a time when the in- stitution of slavery was being threatened by independence struggles throughout the Carib- bean. The Last Supper tells of the grotesque distortion of . that ceremony by a sanctimonious sugar mill owner, a Count: of Havana (Villagra). In a warped effort to instill humility and resignation in his slaves, he has 12 of them to din- ner, first washing and’ kissing - their feet. After a lot of wine, tensions are relaxed and the Black slaves are led to believe the count ‘disapproves of the cruelties of his overseer. Next-day, when the mulatto overseer orders them to work on Good Friday all hell breaks loose. The overseer is held hostage whil? the slaves ex- pect the count to decide in their favor. Faced with such a threat to his real interests — the need to in- crease production — the count orders out an armed posse to control the -situation. In response, some of the slaves kill the overseer and set fire to the sugar mill. THE LAST SUPPER. Directed i by Tomas Alea, screenplay by} Alea, Tomas Gonzalez and] Maria Eugenia Haya. Produced || in 1976 by ICAIC (Cuban Film) Institute). At the Robson Square 7] Cinema, Feb. 1, 7 p.m., Feb. 3,4 9:30 p.m. His ruin imminent, the count) now reverts to type and exacts) dreadful revenge on those. who attended the ‘‘last supper.’ Rich color pervades the film, almost Rembrandtesque in the supper scene — glittering silver, juicy meats, flashing wine) decanters, tumbling fruits and @ golden glow over everything. It is all in sharp contrast. to the dusty slave quarters and the: sugar mill. The vivid scenes are enhanced by Leo Brouwer’s musical score. « The Last Supper is one of the most powerful modern Cuban films which examine th historical background of the Revolution. Director Tomas. Alea is already well-known in the U.S. for his Memories of Underdevelopment which dramatized the effect of the Revolution on a middle-class Cuban. j —People’s World: }