Wednesday, November 4

POST-ELECTION SPECIALS (CBS, 7:30-8:30 p.m.; ABC, 10:30-11 p.m.; NBC, 11:30 p.m.-12:30 a.m.).* The three networks' political commentators analyze the results.

Thursday, November 5 BEWITCHED (ABC, 9-9:30 p.m.). Witch Samantha is stirred to jealous and witchly japes when her husband is interviewed by a pretty high school girl reporter.

Friday, November 6 NEW YORK PHILHARMONIC YOUNG PEOPLE'S CONCERT (CBS, 7:30-8:30 p.m.).

Leonard Bernstein explains the sonata form, conducts excerpts from Mozart's "Jupiter" Symphony and sings And I Love Her, the hit song from the Beatles' movie A Hard Day's Night. Season premiere.

BOB HOPE PRESENTS THE CHRYSLER THEATER (NBC, 8:30-9:30 p.m.). Anne Bancroft stars in Playwright William Inge's first television play, which involves the marriage of a baseball has-been and the daughter of a socially prominent St. Louis family. Color.

Sunday, November 8 LAMP UNTO MY FEET (CBS, 10-10:30 a.m.). The Broadway cast of Oh What a Lovely War presents excerpts from their hit antiwar show.

CAMERA 3 (CBS, 11-11:30 a.m.). Bertolt Brecht's dramatic exercises for Shakespearean actors are presented for the first time on television. Lotte Lenya demonstrates the exercise for Romeo and Juliet.

DISCOVERY (ABC, 11:30 a.m.-12 noon).

The program debunks the myths surrounding many of the popular heroes of the Old West such as Buffalo Bill, Bat Masterson and General Custer.

WILD KINGDOM (NBC, 5-5:30 p.m.).

Hosts Marlin Perkins and Jim Fowler explore the 130,000-acre Philmont Boy Scout ranch in New Mexico.

PROFILES IN COURAGE (NBC, 6:30-7:30 p.m.). Premiere of a series based on the late President Kennedy's bestselling book.

In tonight's program, Alabama's Senator Oscar Underwood knowingly ruins his chances for the 1924 Democratic presidential nomination when he denounces the Ku Klux Klan.

Monday, November 9 THE JONATHAN WINTERS SHOW (NBC, 9-10 p.m.). First of six "specials" starring the zany comedian.

Tuesday, November 10 BELL TELEPHONE HOUR (NBC, 10-11 p.m.). Henry Fonda hosts a program devoted to the lyrics of Oscar Hammerstein II. Florence Henderson, John Raitt, Gretchen Wyler and Susan Watson are among the singers.

THEATER The new season is setting Broadway marquees ablaze again, though some were d arkened almost as soon as they were lighted. Cambridge Circus, Traveller Without Luggage, and The Last Analysis flashed their lights and are now gone. Holdover shows still predominate. Of the long-runs, How to Succeed m Business Without Really Trying is still incontestably the best of the musicals, and The Subject Was Roses the best of the straight dramatic plays. The top comedy distance runners are Barefoot in the Park and, if there is anyone left who hasn't seen it, Mary, Mary.

OH WHAT A LOVELY WAR is an animated documentary that grins like a skull at the follies of World War I. Adding humor and song to pity and terror, Lovely War achieves a catharsis hardly to be believed of a musical. The hand that guides it is Joan Littlewood's; the guiding spirit is Bertolt Brecht's.

FIDDLER ON THE ROOF. This evocative musical discovers gentle sorrow and infectious gaiety in the story of Tevye and his five daughters in a Russian village prior to the 1905 revolution. Zero Mostel is a million rubles' worth of joy.

ABSENCE OF A CELLO. This amusing farce breezes along on the proposition that the corporate image is a fright mask.

RECORDS Folk Music and Blues PETER, PAUL AND MARY IN CONCERT (2 LPs; Warner Bros.). P. P. & M. have now reached the status of Artur Rubinstein. They can record the same music over again and expect it to sell as well as it did the first time. Actually, the repeats (including If I Had a Hammer, 500 Miles, Blowin' in the Wind) are the best part of this package, which is burdened with a lot of tomfoolery, including twelve minutes of something called Paultalk. There is a more or less French number by Peter, some uninspired solos by Mary, and a sing-along section by an audience that should be fired forthwith.

THE FOLK BOX (4 LPs; Elektra). A sprawling anthology that includes a few songs from the British Isles and Africa but concentrates on American music. Most of the fine folk singers of today and yesterday are on hand, including Woody Guthrie, Pete Seeger, Big Bill Broonzy, Josh White, Leadbelly, Blind Lemon Jefferson, Jean Redpath, Theodore Bikel. There are, however, some missing headliners, including Odetta, Joan Baez and Bob Dylan.

HARRY BELAFONTE: BALLADS, BLUES AND BOASTERS (RCA Victor). The folk scene shifts around him, but Belafonte remains poised and onstage. He almost mechanically puts a satin sheen on a pretty ballad, but he can also tighten throats with a lullaby ("I'll take you to a land where you can lift your head") and summon up red-blooded jubilation when he boasts, "Come on over to the front of the bus, 'cause I'll be riding up there."

BUFFY SAINTE-MARIE: IT'S MY WAY! (Vanguard). The guitar-twanging, sing-it-your-self segment of folk fans does not insist on professional singing even in others. To these earnest ones, Buffy Sainte-Marie's emotional involvement in her songs counterbalances her unsure delivery. She writes and sings about war, drug addiction, a lover's desertion and, in Now That the Buffalo's Gone, the wrongs of the American Indians, her own people.

JOHN HAMMOND: BIG CITY BLUES (Vanguard), in spite of its title, consists largely of country blues. But Hammond is one of the new breed of young, city-rooted white singers who are borrowing the Negro blues. Although he is an imitator, Hammond gets inside the songs, and his voice is live and versatile, equally at ease in a plaintive, long-lined lament like Midnight Hour Blues and in the up-tempo vocal acrobatics of My Babe.

GALE GARNETT: WE'LL SING IN THE SUNSHINE (RCA Victor) is the pop hit from this folk album, one of five written by Garnett herself. Only 21, she already has a busy though not very folksy past to write about, having acted off-Broadway at 15, sung at the Blue Angel at 20. Her low, husky voice sounds best in songs of gallant loneliness, like Wanderin'.

CINEMA

MY FAIR LADY. Audrey Hepburn seems delightfully right as the cockney flower peddler transformed into a lady by Professor Rex Harrison, and the happy news is that this lush, eye-filling adaptation of the Lerner-Loewe musical delivers a round $17 million worth of elegant escapism.

WOMAN IN THE DUNES. This luminous, powerfully filmed allegory from Japan translates the search for self into a vivid metaphor about a man and a woman endlessly digging, digging, digging to survive in a sandy hellhole.

THE SOFT SKIN. A given triangle is worked out with Gallic elegance as Director Francois Truffaut (The 400 Blows) studies the emotional trigonometry of an aging intellectual's first and final sortie outside the matrimonial stockade.

TOPKAPI. Melina Mercouri and Peter Ustinov make larceny laughable in Director Jules Dassin's cheerfully amoral comedy about a jewel caper in Istanbul.

THE LUCK OF GINGER COFFEY. An affable Irish phony (Robert Shaw) who can't face the truth about himself loses his wife (Mary Ure), who decides she cannot live with a lie.

MARY POPPINS. Amidst a whirl of Walt Disneyism, Julie Andrews and Dick Van Dyke transform a modern juvenile classic into jolly good fun.

SEDUCED AND ABANDONED. Italian Director Pietro Germi (Divorce--Italian Style) again turns Sicilian social codes inside out in this tragicomedy about the violent aftermath of a provincial maiden's misstep.

I'D RATHER BE RICH. Another romantic mixup, another wayward heiress--but the familiar ingredients are whipped into a nice froth by Sandra Dee, Robert Goulet, Andy Williams, Hermione Gingold.

GIRL WITH GREEN EYES. Britain's Rita Tushingham, shrewdly guided by Director Desmond Davis, brings warmth, wit and wonderful variety to this portrait of an Irish colleen who falls in love with a man more than twice her age.

THE NIGHT OF THE IGUANA. Burdened with some of the fascinating ills that Tennessee Williams' characters are heir to, Ava Gardner, Deborah Kerr and Richard Burton repair to a shabby Mexican resort for group therapy.

BOOKS Best Reading MARKINGS, by Dag Hammarskjold. The late Secretary-General of the United Nations called this journal a record of "my negotiations with myself--and with God." In a series of pensees, poems and meditations, Hammarskjoeld reveals that the iciest diplomat of them all was at heart a God-haunted mystic.

FOR THE UNION DEAD, by Robert Lowell. Less obscure than his earliest works and less embarrassingly confessional than his recent Life Studies, these poems pursue Lowell's preoccupation with creativity, madness, marriage and his Puritan heritage in tough, masculine verse.

MY AUTOBIOGRAPHY, by Charles Chaplin. Hollywood's comic genius writes eloquently about his pitifully poor childhood but prefers name-dropping to telling about his later artistic achievements. The reason for this autobiographical lapse is apparent on every page and saves the book: despite his fame, the penniless child in Charlie still marvels at the attention of the great.

PATTON: ORDEAL AND TRIUMPH, by Ladislas Farago. In the best-documented biography yet of World War II's most controversial commander, Farago argues that General Patton was a tactician whose bold gambits saved many lives.

THE BRIGADIER AND THE GOLF WIDOW, by John Cheever. In these chilling short stories, the fall from corporate grace, the merger, the personal scandal that might stop the money, are the demons Cheever uses to speculate about the fears of salaried suburbanites.

REMINISCENCES, by Douglas MacArthur.

In a style that is more restrained than his usual baroque eloquence, MacArthur vividly recounts his trials and his triumphs.

HERZOG, by Saul Bellow. In this long-awaited novel, Bellow's hero is a man in search of a new life amid the rubble of a wrecked marriage. His conclusion is disappointingly flat ("I am what I am"), but in the process of reaching it, Herzog-Bellow ranges wittily, learnedly and perceptively over nearly all the dilemmas --major, minor and plain absurd -- of 20th century man in a virtuoso display that is a constant delight.

THE WORDS, by Jean-Paul Sartre. Always a brilliant but negative thinker, Sartre has focused his critical power on himself as a child and dislikes what he sees. From this graceful, simple memoir, the cast of a powerful, angry mind that was to reject all symbols of tradition, from God to the Nobel Prize, can easily be traced.

THE ITALIANS, by Luigi Barzini. Foreigners often love Italy for the wrong reasons, thinks this brilliant Italian journalist, who goes on to consider his countrymen in damaging detail.

Best Sellers

FICTION 1. Herzog, Bellow (2 last week) 2. Candy, Southern and Hoffenberg (1) 3. The Rector of Justin, Auchincloss (5) 4. The Spy Who Came In from the Cold, Le Carre (3) 5. This Rough Magic, Stewart (4) 6. Julian, Vidal (6) 7. Armageddon, Uris (7) 8. The Man, Wallace (9) 9. You Only Live Twice, Fleming (10) 10. The Lost City, Gunther

NONFICTION

1. Reminiscences, MacArthur (1)

2. My Autobiography, Chaplin (2)

3. The Italians, Barzini (6)

4. A Tribute to John F. Kennedy, Salinger and Vanocur (4)

5. The Kennedy Wit, Adler (5) 6. Harlow, Shulman (3)

7. A Moveable Feast, Hemingway (7) 8. The Warren Commission Report 9. Four Days, U.P.I, and American Heritage (10) 10. Diplomat Among Warriors, Murphy (9)

* All times E.S.T.

This file is automatically generated by a robot program, so reader's discretion is required.